A story can be told entirely through sequential images without a single word, using visual grammar (panel flow, recurring symbols, scale, color) to carry plot, satire and emotion. This forces the reader to actively decode meaning rather than receive it, and makes the work legible across language barriers.
The graphic novel builds an entire invented mythological world called Halahala, populated by its own gods, creatures and societies, and uses their surreal fables to satirize real human institutions like religion, consumerism and media. The invented pantheon is not decoration but the vehicle: each deity and creature enacts a recognizable earthly folly.
Treating gods, mass media and consumer products as interchangeable objects of worship reveals how modern devotion migrates between forms while keeping the same structure of ritual, idol and crowd. Viewing contemporary life as a mythology exposes the sacred machinery hidden inside the ordinary.
Satire can be delivered through fable: assigning human vices to invented creatures and deities so that criticism lands indirectly, letting absurd exaggeration make a point that direct statement would blunt. The distance of the fictional world grants the reader room to recognize themselves without defensiveness.