Hyperbole and a Half
Allie Brosh, like Christopher Grady and many other comic artists, focuses on her own life to tell a story, utilizing a unique style and voice. In fact, it’s likely that most people have seen her work from time to time. Her art style has been utilized in many popular Internet memes, which is further evidence of her popularity. Interestingly, her self-depiction changed significantly over the course of four years, as seen in the image. By looking at her blogs from a historical lens, one can see that Brosh's caricature transformed from a rudimentary stick figure to the iconic character readers recognize and adore [1]. Through this transformation, the facial characteristics and gestures became more indicative of Brosh's true personality. As the character's smile and posture became more awkward and misshapen, Brosh's insecurity became more apparent.
Her official, lasting caricature with its scrawny stick-like arms, pointy blonde ponytail, and polygonal pink dress tells a lot about how she sees herself. Her childish, helpless gesture and absurd form indicate that she often feels powerless, especially since she has difficulty explaining the reasoning behind her depression and lack of motivation as well as the random unfortunate events in her life. Brosh sees the world as an unpredictable place in which she is simply getting by, indicating an external locus of control. Through her iconic cartoon caricature, she projects her innermost thoughts while simultaneously scrutinizing her feelings and behaviors, often with a sarcastic sense of humor [2].
Her attitude and personality are conveyed most clearly in her comics on depression. Depression can oftentimes be an uncomfortable subject for many to talk about, but Brosh remains vulnerable with viewers through her narrative reflections. Objectifying herself in caricature form gives her a sense of distance that enables her to illustrate her experiences in a light-hearted fashion. Her use of scrutiny and sarcasm through both extradiegetic narration and intradiegetic narration coupled with her childish drawings creates a sense of humor and indicates healing on her end. By portraying herself in her most helpless moments, she sympathizes with and creates a niche community for those experiencing mental illness [3]. Thus, the digital, autobiographical nature of Brosh's comics reveals a solidification in identity over time through ongoing reflection and a unique, honest perspective on sensitive issues.
1. Darren Wershler. “Digital Comics, Circulation, and the Importance of Being Eric Sluis.” Cinema Journal 50, no. 3 (Spring 2011): 127–34. doi:10.1353/cj.2011.0035.
2. Charles Hatfield, Alternative Comics: An Emerging Literature (Jackson: University Press of Mississippi, 2005).
3. Edward Shannon, “Shameful, Impure Art: Robert Crumb’s Autobiographical Comics and the Confessional Poets.” Biography, no. 4 (Fall 2012): 628–49. doi:10.1353/bio.2012.0045.