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Emil Ferris My Favorite Thing Is Monsters (2018) - Coggle Diagram
Emil Ferris
My Favorite Thing Is Monsters
(2018)
feels like a hand drawn notebook; it feels like it's trying to be more "real" and like we have picked up the main character's notebook?
the size of it models the type of paper she's emulating
she calls attention to the tools of production: cross hatching, color pallete, the pens (red, blue, black);
the shading also creates a temporal orientation
the color palate: blue; characterizing Anka's style
the jacket is free flow/spontaneous; it's sets the childhood tone/adolescence
on the level of lines, it creates movement and calls attention to process
also her way of panels is super intriguing. shes making the sequences blend in and take over pages with little dialogue
(Austin-- he further argues, "it creates a body that feels like it doesn't want to be examined in a dissecting way")--yooo
in a novel about "finding your footing" it uses a logics of disorientation and "narration"--it also troubles what's "in the scene" and not"; it foreshadows and it creates supicions; fantasies of hyper frames/mediacies; it's also multi-temporal
the use of comics covers to create segmentation; it models the heroine's idea of storytelling and organization
Karen wants to be a monster? The framing device of a wolf girl detective
making Chicagocitizens more monstrous with competing art styles
it's also merging various POVs: monster stories, hyper realism (and space), flashbacks and dreams;
How do the formal features shape the novels sexual, racial, gendered, historical, and class politics (huge question)?
Childhood sexuality: "show how these things can awaken sexual intimacies in kinds";
Like missy all of a sudden wants to be Draculas bride, and then her character becomes only interested in boys instead of monsters
in Carmilla, vampirism is something to be destroyed; it becomes a working metaphor for staking and closeting
Karens mom is really supportive and missy’s isn’t I think its about strain between classes and race (Brittany in chat)
replacing the monster stories with artefacts of PLAY about heteronormative rules (haunted house to mystery dates)
the format allows us to crtique Missy's mom--the shape of the lines in the dialogue like "your class" shaky
In the same way that in Camilla it was to demonize same sex desires it could be said that this comic is doing the same;
reshapes the monster aesthetic through visual rhetorics of "fit"