Panel 1
Abstract-
2.5 lots of shading and detail but still cartoonist
Panel
Transition- N/A
Time/Speed-
Time is moving slowly as if the subject is staining still
Line- The
lines are very rough and threatening but at the same time could be gentle.
Words/images-
Word Specific. His facial expression is not enough to interpret his meaning.
Panel 2
Abstract-
2.5 lots of shading and detail but still cartoonist
Panel
Transition- Subject to Subject
Time/Speed-
Time is moving slowly as if the subject is standing still
Line- The
lines are very rough like the previous panel but also have gentle edges. This
panel could seem threatening and uneasy.
Words/Images-
Word Specific. The facial expression is not enough to interpret the meaning.
Panel 3
Abstract-
2.5 lots of shading and detail but still cartoonish
Panel Transition-
Subject to Subject
Time/Speed-
Time is moving slow as if the subject is standing still
Line-
Rough/savage. To me this panel seems more aggressive.
Words/Images-
Word Specific
Panel 4
Abstract- 3
Panel
Transition- Subject to Subject
Time/Speed-
The lines around her look like she is standing still but the lines around her
hand and the tape look bold and abrupt as if she lifted her hand suddenly
Line- Proud
and strong around the tape and warm and gentle around Karen
Words/Images-
Additive
Panel 5
Abstract- 3
Panel
Transition- Aspect to Aspect
Time/Speed-
Slow/Standing Still
Line- Warm
and gentle/not as rough/honest and direct
Words/Images-
Word Specific
Panel 1
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Panel 2
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Panel 3
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Panel 4
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Panel 5
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Abstract
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2.5
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2.5
|
2.5
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3
|
3
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Panel Transition
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N/A
|
Subject to Subject
|
Subject to Subject
|
Subject to Subject
|
Aspect to Aspect
|
Time/ Speed
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Slow/Standing Still
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Slow/Standing Still
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Slow/Standing Still
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Slow/Quick
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Slow/Standing Still
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Line
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Rough/
Threatening
|
Rough/
Threatening
|
Rough/
Threatening
|
Serious/Strong
|
Gentle/Slightly
Unstable/Honest
|
Words-images
|
Word Specific
|
Word Specific
|
Word Specific
|
Additive
|
Word Specific
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The fact that the three people from Anka's past are drawn in very bold, but still not detailed lines, matches the story at this time. More cartoonish because we still don't have all the details, this is Karen's representation, but it might also be Anka's perception of them from different times in her life: threatening and gentle at the same time.
ReplyDeleteOne of the central ideas surrounding the meaning of this page is that the faces are just representative of Karen's thoughts about who potential suspects might be. The conventional "pictures in boxes" format of this particular page, I think represents Karen's own thought process, trying to organize and label all the many suspects in her head. The height of the first panel I believe is directly correspondent to Karen's suspicion of the man in question; I'm pretty sure it is Schutz, because he mentions "my little goddess" but visually he looks a lot like Sam to me. Another thing to note is that there is a panel on a different page, (about 17 pages back) where Schutz is framed in almost the exact same manner as here in the upper-lefthand corner with only the right side of his face showing. This might have importance or it might not. Oddly enough, in the previous version, Schutz seems younger, while in the version on the page, he seems far older and uglier. I think Karen views Schutz in a different light now. But the main point of the page is to show that Karen stole the cassette from Sam. Ferris highlights the cassette's importance by placing it as the subject in two sequential panels (4 and 5). The first is illustrated by the imaginary lines of surprise pointing to the cassette, and the other is emphasized by its size in the panel as well as the size of the panel. In the fifth panel, we also see Karen's claw in detail for the first time, drawn in rough bold lines as contrasted with the light grid-like crosshatching of the cassette. This specifically emphasizes not only the cassette, but Karen's having stolen it, making her particularly monstrous.
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