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GBD: Behind the Scenes
So while you wait on the next page, here’s some information on this latest chapter you might not have realized or noticed. Or maybe you did, you are pretty smart.
I am a big fan of juxtaposition in art. I think I’ve mentioned before that that is what this whole montage is about. We see Fiona learning how to be both a lady and a warrior in one page after another, and then side by side panels on the same page.
In Victorian times, there were two spheres; the public sphere and the private sphere. Back in those days, the women more or less stuck to the private sphere. It wasn’t all that acceptable to enter the public sphere, to leave the house. A man could, of course, live in both. So here we have Edgar in the private, “feminine” sphere where Fiona is learning about her mother. Hattigan resides in the public “masculine” sphere, where Fiona learns to fight like a man and more about who her father was.
Edgar represents the feminine, Hattigan the masculine. Playing up the duality. You’ll also notice the “warrior” Hattigan panels are tall and thin, to represent a figure or form standing tall, erect, and strong. Edgar’s panels, however, in the private sphere, are wide and reclined. A form prone, laying down, submissive.
While on the surface, Edgar appears to be progressive and Hattigan more traditional in thier view of the world, that isn’t case on every topic. Yes, Edgar believes that not all beasties are monsters, that some deserve to be treated with respect and should have rights. On the other hand, he is a bit more traditional when it comes to gender roles. He wants to encourage Fiona to be a lady, not a fighter.
Hattigan adheres to the more traditional views of good and evil, he also is open to the idea of women joining in that fight.
More information on thier motivations for these views will be revealed as the story progresses…
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