Framing
Use of comic book-style paneling with white space to communicate an ordered passage of time. This framing is used repeatedly in conversations between Lucy and her family. By doing so, individual responses and facial cues are given in real-time. Within the frames are various distances, used to invoke different emotions. In the third frame of the image below, the proximity of Lucy's face invokes empathy in the reader for the severity, at least in her eyes, of the situation.
The framing does an excellent job of making the book dynamic...
On the 21st opening, on the right hand page, the first character frame break is visible. The wolf crouching in the image has his tail sticking out of the image, the jam that has been splattered on the walls is coming out of the frame, and the phone the wolf is playing with is also falling out of the frame. This indicates that the chaos of the wolves' takeover is coming to an end. They are too wild to be contained within the confines of the book and they can no longer exist in Lucy’s world. This idea of the wolves being overly chaotic is further supported by the fact that, nearly every time the wolves are pictured, they can be found in a full bleed, not confined by borders.
The deliberate framing choice of the full bleed found in the image in the bottom right also produces specific desired emotions from the reader. By removing the white spaces, here the wolves break free for the very first time. No borders forces a surprised reader into the role of participant rather than spectator. Framing can also be used to blur the line between what is considered illusion and reality, a common theme throughout the story. Because this image holds so much weight and impact to the story, it was chosen to be our single image analysis and is analyzed in deeper depth on that respective tab.
