The Most Important Shot in It's a Bird

As I was reading this novel, I was looking for shots that really stood out to me, and I found a few. However, there was only one shot that was a direct cutaway from the linear look of the story. What I mean by that is that there are three formats (shown by the framing) that Seagle utilizes throughout the novel: present day, flashback, and Superman descriptions. But on page 119, Steven cuts from his flashback to a present day shot of him making amends with his father, and with Superman: "That's what Superman is all about. To remind us that we have hurdles... and as long as we keep jumping them.. were still in the race." This is a medium to long shot of an embrace between father and son. Its the first time that the father shows any non anger emotion. The fact that its a medium/ long shot gives the characters space in the frame, and implies room the grow in their relationship. This is the moment that things change for Steven. He realizes that even if he gets this disease, he will be happy with the life that he has lived. Additionally, this moment and "George's Dance" give Steven the confidence to write Superman, and even amaze kids with the super hero at the end of the novel.

It's a Bird by Steven T. Seagle Part 4 Analysis

Written Parallel or Contrast:
Throughout the novel, there have been secondary characters that interact with Steven that are also secondary characters in his life. His girlfriend or his editor are examples of primary characters, but guys like Rafa have less importance on his life. Seagle has an interesting way of writing dialog for these characters, and they commonly set up cutaways to Superman bios. Seagle writes their dialog in a very low brow fashion. Rafa always cuts away from actual conversation to argue about Superman vs. whoever, and on page 75, a bigger guy confronts Steven about Superman: "Da supa-heros, dey know right from wrong." This dialog is less sophisticated than any discussion Steven is used to having, and it connects a lack of sophistication with super heros, Superman in perticular.

Visual Parallel or Contrast:
On page 74, there are two shots (conveniently right on top of each other) of Steven and Marco having a connection on the topic of Huntingtons Disease. They connect on a level that Steven has not reacted to in this fashion throughout the novel, as his eyes are wide open for the first time. I think because this disease has consumed his life, that for him to know that someone else is feeling the same way as him not only relieves him, but astonishes him. That is why there is a look of shock on his face as they talk about their experience.

The Frames:
Seagle sets up three different sections of framing throughout the novel. There is the dark bold black framing that shows a present day setting, the thin faded outline shows a flashback. Those two formats are all very square and formulaic, but the cutawys depicting Superman in some way or another are purposefully different. The Superman cutaways have no formulia, and can include full width frames with dark bold boarders to tiny frames with no border. They show the different sides of the hero, and also give a relation to a point in Stevens life when he can relate to Superman.

It's a Bird by Steven T. Seagle Part 3 Analysis

Written parallel or Contrast:
Steven may not be the most consistant or relilable person in the world, but he has been adiment on his opinion of Superman. On page 32, Steven says "I know it's a challenge. But Jeremy doesnt know that I will win. I'll take Superman head on." He makes true on his promise. Later in the section, he talks to the current author of Superman, Joe Allen. This conversation turns hostile, "He's not showing us what we can be because we can't be from another planet, have x-ray vision, flight, or super-strength." He ends up punching the guy. He really sticks to his hatrid of Superman, and refuses to give up on his stance.

Visual Parallel or Contrast
Before the cutaway "Red, Yellow, Blue" there has been very little dramatic coloring of the novel. After Seagle establishes red as a masculine color, of life and fire. After that set of pages, red begins to appear at a much higher frequency. Now red is used on Steven to accent anger or frustration. It appears when he is having his fight with Joe Allen and talking about his familys past in his aunts house. This accent really stuck out to me, as it not only shows how he is feeling, but is also a part of Superman within him.

Images and Visual Details
An interesting plot detail arises during that same conversation with Joe Allen. Steven the author decides to have the weather conveniently change. As the conversation gets more cloudy, so does the sky (zing!). In this conversation, the shots are rarely straight on, and if they are then its an extreme close up. These shots really show an intensity in the conversation. He uses dutch angles and disfocused shots to show this anger and rage from the POV of the main character.

LA Confidential & Double Indemnity Shot Analysis

So I'm kindof cheating with this, but I have four shots to analyze.

These two shots compare the small town characters in the two films. Lynn and the Medford Man both look very simple and plain. Not low class but definatly not as formal as Keyes. This shows a side of Lynn that she shows only to Bud, because it is hard for a small town person, to make it in a big city like LA in this time period.

 But Lynn has two sides to her, the second is much more public and successful.

However, it is easier to make it in this world as a femme fatale. Notice how the eyes of both Lynn and Phyllis are brutally focused. This look shoots evil into the audience, and really gives a different look of Lynn. She looks like a completely different person when she is with Bud and when she is trying to get by.

It's a Bird by Steven T. Seagle Part 2 Analysis

Visual Parallels and Contrasts:

Seagle initially presents his feelings about doctors on page 7. He has a narration voice over saying that he never liked doctors, that they were plotting (in bold) against his family. The shot that is drawn with this narration shows 3 annonymous figures, with black eyes and scalpels. They are very intimidating and frightening, especially to a younger Steven. However, when Steven is back for his yearly check up on page 25, his doctor, Dr. Rosoff, is not drawn in such a manner. In fact, his friendly moustache and white coat red tie combo make him one of the most approachable and seemingly friendly characters so far.

Written Parallels and Contrasts:

The most used uncommon word I have noticed through the novel thus far is "genetic."Genetics have thus far been synominous with words like contagous, no cure, and other bad connotations. While he uses this word to describe Huntington's Disease, there are other obvious connotations. While he hasnt directly described anything, there seems to be some sort of tension between Steven and his parents, who he gets his genetics from. Could he regret his family or upbringing?

The Framing Thus Far:

The way the story has been framed over the first 30 pages of the novel has been far from consistent. That is not to say that there is no rhyme or reason for the framing though. The most interesting thing I noticed about the frames is the difference between the frames of current and young Steven. When he is having flashbacks to his childhood, the frames are the same, just not finished. I think this implies definite growth in the character, as his frames are now filled in

It's A Bird by Steven T. Seagle part 1 analysis

Visual Parallel and Contrasts:

One major parallel I noticed from the first section of this graphic novel is how the editor is drawn when talking to Steven. He always has all his weight on both arms and is leaned over a table or chair or something, even when the situation does not require such a stressed position. This consistent position, as well as how he is drawn (sketchy, faceless, the most distinguished part of his person is the black headset he wears) shows a static character.

Written Parallel and Contrasts:

There are a couple dialogue scenes in the first 13 pages, between a young Steven and his mother, and then Steven and the editor within DC comics. In both sections of dialogue, Steven has some significant anger thrown at him. His mother is projecting anger that she feels from his father's side of the family on him as his grandmother begins to pass away, and the editor is just generally angry with Steven about not taking Superman ("Pick it up pick it up pick it up" (11)), despite not understanding why Steven is unwilling to draw the iconic super hero. This could be a constant struggle in Stevens life, if he continues to have anger imposed on him, it could explain his mental inability to draw Superman.

The Images

There are some very interesting focus points in many of the frames so far. The focus points of the drawings themselves show some interesting points that Seagle wants to make. What's interesting to me is that through the first thirteen pages, children are drawn with the most detail and focus. Even more so than the main character himself. Young Steven and his brother are drawn with defined lines, and the child telling his mother to slow down has his own frame and has a very defined character with many different colors.

Self Taken Photo Analysis

I took some pictures of my dog to play with the rule of thirds and the effects of different framing of an object

This picture puts the focus on my dog's nose and leads to the computer screen. He is focused in the center of the line between the left and center third of the frame

In this photo, my dog's eye is pretty close to the intersection of the top right segment and the lazy frame

These two pictures are pretty similar, but by focusing my dog on different sides of the frame it gives a different perspective of the rug/hardwood under him.

This arial shot gives cool shadows, and places the focus on the intersection of the top right quad and the lazy frame