Help Her!
While I’m not a major science fiction fan, I was simply astounded when I read Octavia Butler’s Kindred for a Women’s Literature class in college. During my foray into comics, I came across a graphic novel adaptation of the story by Damien Duffy and John Jennings.
For context, Butler’s story follows a modern black woman, Dana, who is magically transported back in time to antebellum Maryland where she must protect her ancestors, Rufus, a white slave owner, and Alice, a black slave. The storyline is packed full of political implications about race, power, and gender, and the graphic novel is no different.
I’ve selected a two-page spread that I feel displays the drama and relationship of the characters, a focused example of the illustrations, and excellently showcases an important color design.
On the left, a full-page panel depicts four characters: Dana rushing from the house with an angry snarl; Rufus, with tears in his eyes, carrying Alice who has clearly been beaten; and another slave, Nigel, crying in the foreground. Rufus is the only one speaking by way of two word balloons; he is commanding and pleading with Dana to help, saying: “Blame me if you want to! Just help Alice!” Each balloon is jagged and pointy. This page’s color is largely the dark purples of nighttime, while in the background the lights of the house are bright yellow.
The left page is full of implications, and ideology. Dana’s raised upper lip and powerful stride connote her anger with Rufus, but also establish her control in the panel. A black woman shown in a position of power and anger is a bold and modern statement, especially given the antebellum setting of the story. Rufus is seen crying, symbolizing his powerlessness in the moment. The exclamation points in his speak divulge that he is panicked and emotional. Not only is he trying to care for an injured black woman, but he is shown as emotional as Nigel, someone he owns. This begins to unpack Rufus’ tumultuous character and opposes traditional masculine stereotypes.
Yet, the complexity of power and control in the comic is maintained because Rufus’ word balloons have a similar shape to bullet holes having torn through the image; he is still in charge and demanding help from Dana. The colors of the panel signify a continuous theme of the comic. Outside is dark and cold, where pain and fear exist in the repressive purples, while the house offers warmth and comfort.
Page two continues to give the reader signs of power conflicts between Dana and Rufus, while Alice is literally an object at the center of contention
The first four panels are inside the yellow light of the house. Rufus doesn’t speak on this page, instead the only word balloons come from Dana giving directions to him and Nigel. At first, Dana is still angrily glaring directly off the page, accusing Rufus of mistreating Alice. The second panel silently shows Rufus actually caring for Alice by carrying her to the clean white bed. Dana relaxes and directs Nigel and Rufus to get cleaning supplies. Her word balloons appear as round bubbles. The final panel is wider than the others and returns to the purples of the first page. Dana is in the tight attic where the slaves sleep.
The symbols and meaning on this page resume many of those from the first and add some. Dana’s power in the situation is signified by her command of the verbal in each panels. Her steady and controlled speech shows her calm and expectation in the environment. Rufus’ internal struggle for power is illustrated by his quiet care for Alice. The final interpretation that inundates this page is color. With Rufus, the scene is warm and bright. Alice will be cared for and Dana can help. But in the attic, where the slaves sleep, the danger and pain of the purples from the first page return.
These two pages of Kindred: The Graphic Novel capture the complex power dynamics of the characters battling with racism, status, and gender through visual description and symbolic interpretation.
