Current  is a comic book revolving around life, death and faith.

The story is told from the perspective of the protagonist Enna, and it describes the family's view of life and death that has been passed down from generation to generation – death is not the end, but a form of life. Family members must return to nature after they die, and only in this way can they continue to exist in the flow of life. However, this belief conflicts with the rules of modern society and the different values of family members, leading to a series of emotionally intertwined dramatic stories.

In a narrative with dark humor, the story not only focuses on the conflicts between family members, but also conveys my personal imagination of the theme of death through visual representations such as the wind-blown ashes flowing into human shapes and the spirits of the dead running away in a storm.

This work is inspired by a fantasy: if the soul still exists after death, then is the soul that has long been buried in the ground equivalent to being imprisoned forever in a small, confined space? If a person's ashes are scattered into the sea, will it have an unrestricted, infinite energy after spreading randomly with the water flow?

In this work, I hope to break the inherent concept of “death as the end” and explore the concepts of the fluidity and destiny of life. I used references from different cultures’ burial traditions and combined them with my own understanding to create a strange family that firmly believes in this theory and wants to make “returning to the current” a family tradition. Although Enna is the protagonist of the story, she essentially did not make any active decisions to drive the story forward. Both of her actions with her father Richard were accidental, as I wanted to use a young generation with a bystander's perspective as a medium to carry all readers, including myself. I wanted to express death in this way, or the sense of fatalism in the form of a return to the present.

I used Clip Studio Paint and a pressureless brush to complete the drawing of the comic. Visually, I experimented a lot with the composition of the layout. I wanted to let the audience experience the story through a cinematic layout design with Enna's perspective. In the process of interweaving the story before and after, I used different ways of arranging the lines and black and white contrasts to convey a specific atmosphere.

After repeatedly asking myself questions and deepening my understanding, I created this work, hoping to resonate with readers in terms of their views on life and family relationships.