| dc.description.abstract | This thesis concerns itself with analysing ND Stevenson’s debut graphic novel Nimona (2015) and Alison Bechdel’s seminal work Fun Home: A Family Tragicomic (2006), using queer theory. Through a close reading, I explore how Stevenson and Bechdel employ the graphic novel medium to subvert traditional narratives, using queerness as a lens to explore themes of identity and otherness. By closely examining the interplay of visuals and text, I aim to explain the nuanced portrayals of queerness and societal norms in Nimona and Fun House: A Family Tragicomic, and ultimately contribute to the ongoing discourse on queer representation in comics and showcase the transformative potential of graphic storytelling. I explore how queerness is expressed through the various portrayals of the characters, and how this relates to their physical bodies and their narrative journey. Additionally, this thesis will analyse how queerness is reflected in the language, writing style, and the structuring of the novels. Before going into the specific manifestations of queerness within the graphic novels, the study first establishes a historical context by exploring the relationship between the comics medium and queer storytelling. I will analyse the significance of the shapeshifting ability of the titular character Nimona and the particular manifestations of her queer body. I will analyse the relationship between the drawn Alison and her father Bruce, and how Bechdel showcases two different paths of queer life. My focus will be on exploring the theme of identity and perception through a queer lens, as well as examining the inherent value of universal narratives with nuanced, niche representations.
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