Critical Review of Otis Frampton's "Oddly Normal #1"

“Oddly Normal” is a new monthly comic written by Otis Frampton, that centres on the life of an adolescent girl who is both half witch, and half human. Upon opening the first page, the reader is immediately greeted with heavy cartoon imagery, signifying that the target audience is children, most likely ranging from 10-16 years old. However, upon a complete read of the first issue, it is evident that there are aspects that children and adults alike can enjoy. 

To begin, one thing I noticed was the heavy use of splash pages throughout the first issue. Otis Frampton here uses 5 different splash pages, all of which are brilliantly coloured, and drawn. Each of the splash images come at different climaxes of the particular story, and are used as a way to convey emotions, or focus the readers eye on one particular moment in time. Upon reading the first issue, the splash pages almost froze me in time, and asked for my full attention. This gets at Lefevré notion that there is an active process expected of the reader when dealing with comic books, even something that presents itself as extremely simple. More so, these splash pages are clearly used to not only move the narrative forward, but in order to portray specific moments in time that either set the mood, tone, conflict, or catalyze the future events of the story. For example, this particular splash page has Oddly Normal coming home from her first day at school. While the imagery is dark, the house is clearly the prominent feature in the shot. There are big words, in distressed text, setting a very “scary” tone. The text boxes itself read, “wait until you see what’s inside”, almost employing a sort of front page of a new comic vibe. This draws readers in, and makes them want to turn the next page.

Upon the first run through of the book, I look to Scott MacLeod’s idea of identification, and can agree and disagree with his claims. In the case of “Oddly Normal” the characters, while detailed, are very simply drawn. From this, I can gauge my identification process. However, there is a specific tension that comes associated with this type of identification process. On one hand, I do not know if I identify with Oddly through sympathy, or placing myself in the shoes of a young kid trying to find their place in the world. On the other, it could also be the art style in particular that draws me closer to the character, and their story.  This is the main conflict I find in MacLeod’s work. However, I do agree with MacLeod’s ideas of abstraction leading to a form of identification. While I can honestly say I was drawn into the art style and portrayal of the characters through this cartooning medium, I am also confident that the personal story plots, and identification with certain emotions do work here.

Next, I found it important to note the use of colour throughout the opening pages. Oddly, our main character, is clearly labeled an outcast by her peers for obvious reason – her green hair, and pointed ears. This isolation is signified in the use of the color pallet. Below, the six panels are painted in gray scale, with the exception being Oddly Normal herself. As an artistic choice, this also mirrors the characters inner emotion, and presents them physically through the constructions of the page design. Oddly does not blend in with the rest of the characters, and essentially “sticks out like sore thumb”. This color pallet whether through faded blues or browns is a common practice throughout the rest of the text, to signify this difference between Oddly and the external world around her.

Next, despite this comic being clearly marketed at children, it employs many useful tactics and conscious decisions that can be further reviewed and analyzed. In the following image, it is clear that Otis Frampton uses Jesse Cohn’s idea of the printed surface being used as a unit of design. Here, Oddly Normal is seen pacing around her room, and then sitting down. However, instead of just laying these out in individual panels in a sequence, Frampton chooses to map out one big image, in a succession of other images – divided by the gutter. This format is used to signify passing time in a singular space. As for effectiveness of this particular decision, it creates a rhetorical page layout, in which meaning is derived from the images, to the same extent as the words. For this story in particular, it can signify that time is both passing slowly for Oddly, and that she is trapped in this singular space, whether out of shear boredom, or sorrow. 

To another extent, Otis Frampton uses intertexuality throughout the first issue. In this shot, we see a very dreary scene, with rain, and thunder, and then what looks to be like a haunted, Gothic house. The text bubble reads, “three guesses which house I live in”. This is a play on haunted mansions, or Halloween like scenes. In a way, this acts as Jeanette’s intertexutality, because in order to gain meaning, we must be familiar with these classic conventions of classic horror scenes, such as witches living in spooky houses.  

Overall, I was very impressed with the first issue of “Oddly Normal”, and am excited for what next month comics brings. As a word of criticism, I do wish that Otis Frampton had chosen to end the comic through a final splash page or cliffhanger. Instead, Frampton chooses to flesh out the ending for a couple of pages, which, while is effective in bringing closure to this particular issue, does not bode well in creating this “dire need” to have the next issue. The ending of this month’s particular issue seemed to have a very high point (climax), and then settled into an ending, while leaving the rest open for debate. While I did like how the issue was concluded, I am a sucker for an ending that leaves you wanting more – see The Red Wedding in Game of Throne.