#Screenwriter and; Graphic Novelist #Writer / #Illustrator Welcome to a new friend: G. E. Gallas

Screenwriter, Author, & Illustrator

Born in Washington, D.C.

Grew up in Potomac, Maryland.

Spent year abroad in Tokyo, Japan at Sophia University.

The entrance to the Gallatin School of Individ...

The entrance to the Gallatin School of Individualized Study at New York University. (Photo credit: Wikipedia)

Graduated from New York University, Gallatin School of Individualized Study. Concentration entitled, “Exploring and Examining Otherness: Japan as well as The Globe.” Colloquium/Rationale entitled, “The Hero as Other.”

May 2013, attended the Cannes Film Festival and spoke to The Blake Society, London.

June 2013, commissioned by Zest Books as a freelance illustrator to create cover and interior art for a number of upcoming titles.

Currently living in San Francisco.

A bit more about me.


G. E. Gallas | Screenwriter & Graphic Novelist Writer/Illustrator.

Grand Opening: The Poet and the Flea Market!

★★★ ★★★

★★★ ★★★

★★★ ★★★

★★★ ★★★

★★★ ★★★



The Poet and the Flea Zine



Professionally printed zine featuring the first 10 pages of graphic novel The Poet and the Flea by G. E. Gallas.

Manga-sized (8.25″x10.75″), saddle-stiched with 80-pound glossy paper cover and 60-pound high bright paper interior.


★ ”Smithereens” Zine ★

Smithereens 1

“Smithereens: Mammon’s Ring-Posy,” poem by Dante Gabriel Rossetti (1828 – 1882) and illustrated by G. E. Gallas.

Printed and assembled by G. E. Gallas. Illustrations printed on 65-pound, nautral-color paper packaged in a lilac envelope with handwritten inscription.


★ “The Ink Drinker” Zine 

The Ink Drinker Zine 1

“The Ink Drinker,” a short story by G. E. Gallas.

The dystopian story of a young girl who learns the truth about an outcast of society.

Printed and assembled by G. E. Gallas. Cover printed on 65-pound, nautral-color paper. Interior printed on 24-pound, white paper.


★ The Flea Plush Toy 

The Flea Plush Toy New7

The sinister antagonist of The Poet and the Flea by G. E. Gallas.

Based on William Blake’s “The Ghost of a Flea.”

Body and limbs made of khaki green crew socks (80% cotton, 20% nylon). Horns, ears and claws made of buttonhole stitched green felt.


★ The Poet Oval Button 

Button 2

Button featuring protagonist William Blake from graphic novel The Poet and the Flea by G. E. Gallas.

High quality, USA made, 1.75″x2.75″ oval button.


The Hero as Other

Note: For those interested, the following is the rationale I wrote for my senior colloquium at New York University: Gallatin School of Individualized Study (for more information, click here). This rationale is basically a map of my personal history, thought process, and creative inspiration. The notions explored here hold great significance in all my work.


The Hero as Other

From an early age, I found the idea of the hero and his journey fascinating. During middle school, Joseph Campbell’s universal formula of the hero’s quest became the nucleus of my understanding of all narrative mediums. For me, Campbell’s The Hero with a Thousand Faces is a work of cultural anthropology, which identifies a remarkable array of elements occurring cross-culturally within the ancient tradition of storytelling.

During my first year of college, I took a course at Smith College called “Writing, Japan and Otherness,” which helped evolve my understanding of the hero’s quest. This course was my introduction to the dual concept of self and other. Through Modern Japanese literature, I discovered how social constructs of identity affect the way in which the hero moves through his journey.

At Gallatin, I continue to pursue and develop my interpretation of the hero’s journey through the perspective of self and otherness. Gallatin courses such as “Yellow Peril: Documenting and Understanding Xenophobia” and “Globalization: Promises and Discontents” provided an opportunity to investigate how stereotypical social constructs influence the way in which society interacts and how society portrays otherness in narrative mediums. Courses such as “Tragic Visions” and “Dante’s World” further educated my notion of the hero’s journey, complimenting my knowledge of Modern Japanese heroes with those of Western classics. A variety of writing courses such as “Writers as Shapers” and “Crafting Short Fiction From the Sentence Up” allowed me to examine self and otherness within my own creative process.

The hero is a universal presence. Originating from the mythology of the ancient world and passed down throughout traditions of narrative mediums such as literature and more recently film, the hero is an essential figure in the art of storytelling.

Society is captivated by the notion of the hero. But why are these figures essential to society? What makes the hero a hero in the eyes of society?

Predominantly, the hero possess a characteristic that sets him apart, designating him a solitary figure within a greater society. Often, the hero is misunderstood by the world around him and subjected to society’s constructs.

Through his challenging journey of trials, the hero undergoes great suffering. And, as a result of his journey, the hero is distinct from the rest of society.

But how does society perceive the hero and his journey? How does society identify the hero? Where does the hero occur within the dual concept of self and other?

In terms of identity, the other is that which defines the self. The self is regarded as the archetypical social “norm,” while the other in contrast embodies that which is foreign to the self. Typically, the self is overcome by the need to tame the other for fear that the other poses a threat to the authoritative identity of the self. The self and other are trapped in a perpetual struggle against one another sustained by the self experiencing a simultaneous attraction to and repulsion towards the other. The identity of the other remains other only through the perspective of the self. In this way, the presence of the other causes the self to constantly question its own existence.

Across boundaries of culture, time period, and narrative medium, the hero protagonist is universally other. The hero exists exclusively as other in that the hero occurs only within the context of society, that which constitutes the self. According to Joseph Campbell’s The Hero with a Thousand Faces, the hero transcends the status of “…mere human beings…” in that the hero is bestowed with some variety of “…extraordinary powers…” (319). The hero is distinguished from the average human being, a member of the social self, by an atypical “power,” or by what otherwise takes the form of a deviation from society in the hero’s physical existence (his strengths, his flaws, etc.), his place in society (race, ethnicity, social status, etc.), and/or his psychological or intellectual state of mind.



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