The Professor's Daughter

 

Set in the nineteenth century, the daughter of an Egyptologist professor, Lillian, walks the city of London with her unlikely companion, Imhotep IV (the mummy). Romance is in the air; however, the odd couple will have to go through several obstacles before they can be together. Filled with laughter, strange adventures and witty dialogue The Professor’s Daughter brings a modern twist of how love conquers all.

Playing with watercolor- like art style, The Professor’s Daughter brings a nostalgic sensation. The smoothness of the line quality and fading effect of the background colours emphasizes a dream-like world: the blurring effect where images seem to be out of place in time, a toned and monochromatic autumn palette gives the effect of peaceful times and the simplification of the images provides the reader to easily identify with the characters. Conveniently this relates to Scott McCloud Understanding Comics: The Invisible Art where the simplification of the images allows the reader to easily recognize themselves with the characters creating a deeper relationship between them. Because of such simplification it arouses different types of mood that pushes the reader to something new when he/she does not expect it especially with multiple plot twist that this graphic novel display. In addition to the art style, both Sfar and Guibert focus on the simplicity of organized panels. Most panels are in equal size and only emphasize to one-panel-per-page when the narrative approaches a character’s interior motive (image on the left). This allows an act of assembling the fragments from the reader giving more attention to the narrative itself.

Alongside the narrative the use of intertexuality is clearly present having historical references to Egyptian culture. In Marguerite Helmer’s and Charles A. Hill’s Introduction the reader recognizes certain images that they can easily make meaning from and in The Professor’s Daughter the reader’s insights rely heavily on the exploration and the enjoyment of two different time periods intertwining together. For example, Imhotep IV (a mummy) is very recognizable by the bandage around his entire body while Lillian (a nineteenth century young lady) is recognized by her nineteenth-century aesthetic appeal. For this reason the reader must have an open mind to accept such concept of a mummy falling in love with a modern-nineteenth-century young lady.

However, the lettering and the border reflects more on the humour aspect of the narrative. Firstly, the lettering is loose and round as oppose to a rigid and “proper” speech that reflects the nineteenth century mannerism. The roundness of the lettering cleverly depicts jolliness and a child-like-innocence of the characters themselves that brings the reader to a state of pleasure while reading. Yes, all the characters do speak properly by way of speech (and is reflected in the graphic novel) but here it does not portray that strict-ruling of seriousness because they bring unexpecting humour through their gestural presentation. Additionally, both Sfar and Guibert deem the relationship between the characters and the reader to be important and that is the reason why humour plays an important role in the narrative. Secondly, the border of each panel reflects that of the humour aspect as well. In such cases some of the colours slightly bleed off the non-diegetic world (refer to Pascal Lefevre’s The Construction of Space in Comics) that reflects again that child-like innocence of non-seriousness and humour. With that said the reader can relate the theme of love, life and experience from the characters while they endure every plot twist that comes about. Finally, the queen of England also makes an appearance. Not only does humour entices us, but involving a strict figure such as the queen of England (or any political figure) makes it more playful and enjoyable. It fully allows the reader to be absorbed in the narrative communicating a strong sense of realism.

Moreover, Thierry Groensteen indicates that the function of the verbal “identify two functions: a function of dramatization – the exchanged comments add to the pathos of the situation – and a realist function…effect that attaches to the verbal activity of the characters” (“System of Comics” 127) helps link the characters and the narrative effortlessly together. For example, the image on the left display Lillian’s confused state of love whether Imotep IV loves her back. Here the reader can sympathize through function of dramatization because he/she has internalized Lillian’s deep emotions by way of her adventures, and obstacles she endured. Additionally, this is image represents Groensteen’s ‘iconic solidarity’ where text is not required for the reader to understand that the tears flowing out of Lillian’s face is understood as a feeling of sorrow and sadness.

All and all, The Professor’s Daughter is hilarious with witty dialogue and friendly/smooth illustrations that I simply enjoyed.