The Backstagers, written by James Tynion IV and illustrated by Rian Sigh, is the story of a group of misfits who make up stage crew at all-boys school St. Genesius’s. While new kid Jory slowly learns the ins and outs of stage production from Hunter, Beckett, Aziz, Sasha, and stage managers Tim and Jamie, he quickly learns that being a backstager is more than creating sets and props. They are also the stewards of the real back stage, a realm of tunnels and rooms connecting all the back stages of the world to the source of the magic of the theater. While an incredible source of resources, the back stage is also where an entire stage crew went missing in the 80s…
How is design employed to communicate strong emotions?
At this point it seems redundant to point out the visual nature of comics, but let’s stress the point even more. Comics are an interesting medium in how they depict storytelling. In contrast to film and animation where images are rapidly placed in succession to give the illusion of movement, comics rely on the reader to make sense of the action through the snapshots given by the panels. Through a process called “closure,” the reader fills in the gutter between the panels and reconciles the images through visual cues and the text that often accompanies the drawings. Among these visual cues are the expressions and reactions of the comic’s characters. Because of the sequential structure of comics, a character’s reaction and emotionality is oftentimes a reaction to the action in the previous panel. The way that simple character reactions can link potentially unrelated pictures highlights how engaging comics are for storytelling.
Credit: James Tynion IV and Rian Sygh
A four-panel page.
First panel: Bailey and Beckett are standing face-to-face. Bailey has her hand on Beckett’s shoulder, and Beckett is blushing, stunned silent.
Bailey: I miss going to the same school as you. And not just because I always used to copy your algebra answers.
Second panel: A close-up of Bailey and Beckett continuing their conversation. Beckett is still blushing profusely, looking sheepish.
Beckett: I’m terrible at algebra.
Bailey: That probably explains the C, then, huh?
Third panel: A close-up of Bailey, her eyes are big and shining with admiration.
Bailey: It’ll be nice to see you every day again for a bit. You’re doing so well here.
Fourth panel: Bailey is hugging Beckett, who is still blushing with a big smile on his face. The panel is flanked by bright pink roses, and all four panels are tinted pink.
Bailey: I’m so happy for you.
Beckett: Yeah… Happy…
How emotions and reactions are depicted in a comic vary, of course, from creator to creator, and from project to project. Naturally, it all depends on the style and of the tone that is meant to be conveyed. The Backstagers features characters going through the emotional volatility of adolescence in a story about the magic of the theater, the power of love and friendship, and queer found families. The cartoon-y style fits the tone perfectly. One of the best examples of depicting emotions and reactions in the comic is Act 3 as it primarily focuses on Beckett’s personal journey towards accepting change. The chapter starts off in the comic’s base style; however, everything changed when Bailey Brentwood — the coolest girl in the world — stepped onto the stage. At that point the panels are embellished to highlight Beckett’s emotions: the panels are tinted pink, and flowers surround the panel where Bailey hugs Beckett. It gives the reader the chance to experience the moment through rose-colored glasses, just like Beckett, full of happiness and acceptance.
Credit: James Tynion IV and Rian Sygh
A seven-panel page.
First panel: Sasha is sitting at the control panel, lifting his hands in dramatic admiration, which are smoking in cartoonish fashion.
Sasha: That was too much invisible power.
Second panel: Beckett is standing at the panel, slamming his hands on the table furiously, with a stylized explosion behind him.
Beckett: You… You… You idiot!
Third panel: Sasha is looking at Beckett (off-panel), visibly worried and shaking in fear.
Sasha: I… I was just joking around —
Fourth panel: Beckett grabs Sasha by the shoulders and is yelling at his face. The black backdrop is covered with bright red squiggly lines.
Beckett: Sasha this isn’t a game! This is my life.
Fifth panel: Beckett is grabbing his head in frustration with his right hand, crying and extremely upset. The backdrop is a purple and pink spiral.
Beckett: I should have just said no! Nobody else will ever understand what I do up here, least of all, you. Tim should never have sent you up here. It should have been obvious that people were just going to get hurt.
Sixth panel: Beckett is running out of the control booth, crying and still yelling at Sasha, who is still shaken up by Beckett’s outburst.
Beckett: You’re just not smart enough to take things seriously!
Seventh panel: Sasha is standing on his own, hurt, humiliated, and visibly sorry for what he did. The backdrop is dark, with a series of colored lights in a row sprinkled throughout.
Shortly after getting a hug from his crush, Beckett’s world is completely shattered, though. Stage manager Tim asks Beckett to train hyper, happy-go-lucky Sasha as the new light tech as Beckett is expected to become a stage manager the following year. Between having to share his space, train Sasha who he doesn’t trust, leaving the booth to become stage manager next year, and relinquishing control and his space, Beckett is severely stressed. Sasha then confirms his fears, and Beckett goes through anger, fear and regret in a matter of seconds. The rapid and succinct way these feelings are depicted and sequenced really drives the emotion home for the reader. The dynamic use of backdrops grant insight and nuance to Beckett’s emotions, which often can’t be put into words. The lines and colors that depict Beckett’s inner feelings may feel similar to the readers since emotions, unlike experiences, are universal. Being a teenager is like this, and these designs help communicate the idea that we’ve all been on the same boat.