Requiem for a Beast
Context: Matt Ottley
Grew up in PNG, family background, relationships with hus father, uncles and other male figures.
Difficulties he faced in adolescence and with his mental health, working life on stock ranches in late
teens, experience living and working with Aboriginal communities, artistic and musical pursuits etc.
Context: Production Context/Context of the World of the Text
Australian society and the ‘outback’ mentality, rural and remote lifestyles, gender roles in Australian
context (particularly stereotypes pertaining to masculinity).
Aboriginal history and culture, successive Govt. policies which disempowered Aboriginal people
(Stolen Generations), Aboriginal stock workers, intergenerational trauma, prejudice and
discrimination.
Form: Graphic Novella
Novella – Shorter than a novel; Graphic Novella – Content is displayed through images, like a comic
book but with a far more extensive narrative
Genre: As form: Graphic Novella; as subject matter: Allegory or Bildungsroman
Allegory – A text that can be interpreted to reveal a hidden meaning, typically a moral or political
one
Bildungsroman – A novel dealing with on person’s formative years or spiritual education
Mode: Writing, viewing, speaking, reading, listening
Medium: Graphic novella – comprised of narrative conventions, visual techniques, language
techniques, structural features and audio codes (soundtrack)
RFAB is a Multimodal Graphic Novella
It is a multilayered text which uses written narrative combined with visual images and a soundtrack.
To appreciate the text in its entirety you need to listen to the soundtrack, an read the written text
and images in conjunction
Purpose
Representation of: ideas, issues, individuals and/or groups, attitudes, values, voices, perspectives,
viewpoints
Conventions:
Generic conventions (narrative)
Characterisation, shifting narrative POV, conflict, setting, plot, symbolism, allusion, irony.
Language techniques
Figurative language (metaphor, similes etc.), conn. Language, den. Language, colloq. Language,
emotive language, obscene language, etc.
Visual conventions
Mise en scene (placement/composition and framing, depth of field, angle/shot type, leading lines,
model of eye movement etc.), lighting, symbolism, juxtaposition etc.
Structural devices
Non-chronological, cyclical narrative structure, Intertwined dual narratives, juxtaposition of
narratives/character journeys
Auditory elements\
Allusions to hymns from Requiem Mass and traditional Aboriginal oral history, mood established by
tone, pitch, use of crescendo, discordance etc.
Narrative POV:
RFAB uses shifting narrative POV
1st person POV – The boy
 Font looks like printed handwriting, often appears in the form of diary entries, letters or
overlaid on images in comic style. Used primarily to reveal his internal landscape and his
emotional journey.
3rd person limited POV – Narrator
 Font is Times New Roman, used to progress the linear plot line of the Boy and his time on
the ranch
1st person POV – Aboriginal elder
 Font looks like italicised, cursive handwriting, occurs later in the text at the town hall
meeting and in boy’s dreamscape. Explores the experiences of the elder; she is
representative of Aboriginal people and culture
Voice:
Different voices are evident in the construction of different characters; each has a role to play in
representing the individuals/groups in society that Ottley is exploring in the text.
The boy, father, aboriginal elder, Sharkey, Johnno, Rudy (and other stockmen)
Perspectives:
Different perspective/s are evident in the text; firstly through the construction of different
characters and the views of the world they hold. Secondly; Ottley’s own perspective/s are imbued
in the text through the way deliberate choices of construction
Authorial Perspective: Matt Ottley
Characters whose perspectives are valuable to note: The boy, father, aboriginal elder, Sharkey,
Johnno, Rudy.
Stylistic Features – Symbolism and Allusion:
Graphic sequences are highly symbolic and use reoccurring symbolism (motif) and allusions to a
range of contextual elements. These include:
Australian figures and cultural mythology (romanticized versions of Ned Kelly, the Man from Snowy
River, the Stockman figure etc.)
Aboriginal culture – connection to country and identity
Dispossession and mistreatment of Aboriginal people at the hands of White Australia (particularly
the Stolen Generation, forced removal of children to Mission school and the intergenerational
trauma that resulted)
Greek Mythology (stories of the Centaur and Minotaur)
Latin Requiem Mass
Narrative Structure
Text is broken in 4 parts – each named for part of the hymn Dies Irae used in Latin Requiem Mass
(mass for the repose of the soul of the dead). The name of each Part of the text has symbolic value
Dies Irae – Day of Wrath
Mors Stupebit et Natura – Dead and Nature Stupefied
Lacrymosa – Weeping
Pie Jesu – Merciful Jesus
The soundtrack contains the soundtrack. Each title page has a corresponding musical
accompaniment which sets the mood for each part of the text. The lyrics to the songs and
translation of the Latin and Bundajalung language is also at the back of the text
Narrative Structure:
RFAB adopts a cyclical narrative structure – homage Middle Ages and Bungellan culture
Chronology of the story mimics Bungellan traditional oral story telling traditions. Focusing on the
impact of the past on the present and the present on the future
The story of the protagonist known as ‘the boy’ follows a linear plot but includes some flashbacks
and flash forwards to events which take in the boy’s childhood as well as events which occur in the
lives of his father and the Aboriginal elder. In this way the text operates in three dimensions of time
that intersect at several points throughout the story, revealing the impact of people’s actions on the
world around them
Narrative Structure:
The three intersecting storylines belong to different characters: the Boy, his father and the
Aboriginal elder.
The Boy’s Story:
Linear Plot Line: The protagonist leaves home, travels to the stock ranch, goes out on a cattle
muster, gets side-tracked on the muster and follows a rogue bull into the bush in an attempt to
‘conquer it’.
This story progressed via 3rd Limited POV narrator, the pages use black font on a standard white
backing. The interjections of 1st POV of Boy reveal the conflicts the motivated him on his journey to
the ranch, an in pursuit of the bull
Dreamscape: Time shifts (flashback) occur when the boy is having a dream or remembering events
from the past. Both of these are denoted by the Boy’s handwritten font. In the dream often the page
will have white text on the black background, in memories a cartoon sequence is often used to show
flashbacks to childhood
Father’s story:
Father’s story intersects with the boy – it is told through the boy’s memories of his
relationship/conversations with his father
Aboriginal Elder’s Story:
Elder’s story also told through her intersection with the boy; it is recounted in her own italicized
font through the Boy’s memory of watching her give a talk at the local community centre when he
arrives in town before starting work on the stock ranch
Purpose:
RFAB deals with the representation of a range of central ideas, issues, indivduals and groups,
attitudes, values, perspectives, voices etc.
Some suggestions include:
Cultural subjugation, Discriminations, Reconciling history, Prejudice, Judgement and forgiveness,
Loss and bereavement, Power and authority, Fear and bravery, Identity (locus of identity,
determinants of identity, changing identity), father/son relationships, Alientation and belonging,
Masculinity, Racism/Xenophobia, Rites of passage.
Setting symbolic
Gathering storm – conflict/problem
Darkness – evil presence/foreboding
Music – score – impending doom/fear/suspense
Syntax – One short sentence in the middle of empty page. Emphasises sentence. Gives a sense of
text vs barren page.
Times New Roman = Narrator – 3rd person omniscient. Acts as a Godly figure. Gives a view into the
boy’s head
Text – Weather:
‘Above the distant hills the clouds bulge with incandescent lighting’
‘The perfumed wetness of coming monsoon’
Use of imagery --> Storm replenish – After large storms, things are able to grow
Setting:
Comforting:
‘Knows this place’
‘Shimmering edge of the world’
‘He belongs in it’
‘Somehow peaceful, ecstatic’
‘Sun-enfolded landscape
Discomfort:
‘Immeasurable bareness’
‘Crusted earth’
‘White-hot endlessness’
‘Pervasive glare’
Dichotomy: Binary
Text Analysis: Part One – Dies Irae
Title Page: ‘Day of Wrath’ watermark is bold – suits its connotations. Chapter title page gives an idea
of the layering that the text will contain; everything is done on purpose. Dies Irae is first part in
requiem mass that is celebrated by the Roman Catholic Church. Tells us that the whole text is about
death
Page 2-3: Landscape of rural location. Tells us about mood and tone. All about nature. Text in middle
of text is ambiguous. Sense of impending doom. Storms symbolise darkness. Iconic Australian
landscape with gumtrees.
Pages 4-5: Same landscape depicted. Getting darker. Sun starting to set. Sense of progression in
time. Sense of an opening to a filmic. A lot of filmic style sequences in text; deliberately constructed.
Do not know who is talking. Very ambiguous. Implies that it is spoken by and Aboriginal Australian
due to connection to land and passing from one generation to another.
Pages 6-7: Transitionary page. Juxtaposition: darkness compared to lettering. Do not know what
aboriginal elder is talking about. There is a sense of loss. Sense of loss is enhanced by visuals.
Depicting darkness and dark times – stolen generations lost by policies of Aus Govt. Syntax – speech
by aboriginal elder is one sentence at a time. Used to slow down reading. Have to spend more time
deconstructing images.
Notes on Construction
Linear but employs flashbacks (memory) and dream sequences (symbolic)
Parts 1-4 emphasises progression and privileges certain character voices
Allegorical: Story symbolic of larger issue/event – Stolen Generation
Boy’s, Father’s and Aboriginal Elder’s stories intertwine
POV
Drifting POV – 3 voices: The boy, father and aboriginal elder
Ideas and Issues
Toxic Masculinity
Loss of identity
Isolation
Cultural Subjugation
Racism/Xenophobia
Bull = Symbolic
Bull:
Dangerous, Aggressive, Masculinity,
Beast:
Monster, Aboriginal people viewed as beasts – inhuman
Discuss how RFAB uses mode and medium to represent an Issue
Matt Ottley’s multimodal text, Requiem for a Beast, uses mode and medium, such as viewing and
illustrations, to highlight the major issues that develop throughout the text. Issues such as
reconciliation with the past and the Stolen Generation are explored and the hardships that the
Aboriginal people endured are present as well. The Stolen Generation is interpreted as a time when
Aboriginal children were forcibly removed from their homes and then taken under custody of the
Australian Government. The image on page twenty-one depicts the scene of the boys’ father and
friends driving when an Aboriginal boy jumps put at them in hopes to scare them. The use of dull
colours makes the reader focus on the Aboriginal boy who has a spotlight on him from the
headlights. The photo of the blurry Aboriginal child at the bottom of the page could symbolise that
the Aboriginal child was slowly being forgotten or that he was in the back of the boy’s mind and was
a constant memory. It could also tie to the theme of the Stolen Generation as children went missing
and became nothing but a blurry memory for their families to remember. Next to the boy is an
empty packet of tablets and this could be the illustrator’s way of telling the reader that the boy was
depressed and since the background is black that could symbolise nothingness or darkness that the
boy feels is engulfing him. The series of images at the top of the page could portray scattered
memories that the boy is using the tablets to escape from. An excerpt from page sixty-five “them
finding me on my bed, almost gone” gives evidence of the boy wanting an ‘escape’ from the grief he
feels and possibly making a suicide attempt to permanently escape the dark places in the depths of
his mind. The use of medium through illustration and point of view are used throughout the text to
represent the issue of the mistreatment of Aboriginal Australians.
Symbolism:
Colour
Objects
People – Body Language, Facial Expressions, Clothes/Objects
Signs
BULL:
‘Beast’ – Masculine
o
Testicles, Muscular, Dominance

Stereotypical traits associated with masculinity: Power, Violence, Dominance, Fear, Strength,
Virility
Reinforced by:


Sharky (Character)
Allusion to cultural myths – Man from Snowy River, Stockman
Mise en scene




Depth of field
Model of eye movement
Slight high angle
Focal Point. Boy -> Bull
Internal Conflict


Boy tackle/subdue bull
Boy turning into bull – inability to share feelings as men are not supposed to do – in ability to
be masculine
BULL:
Aboriginal Child in Eye of Bull – Symbolic of xenophobic attitudes of white Australia towards
Aboriginal people which led to their attempts to control, subdue and disempowering of vulnerable
people


Allusions to Stolen Generation
Policies Assimilation
Mise en scene – Boy symbolic of white Australia, Bull symbolic of Aboriginal Australians
Subdue bull = removal of children/destroy culture = suffering
Framing – successive frames zoom increasing close up shot – extreme close up
Symbolic – Eye window to soul
Symbolic – No child, innocence, vulnerability
Part 2:
Image of Aboriginal Children – Large heads: Alien-like, reinforces how the were viewed as different.
Allusion to Stolen Generation – School Uniforms,
Practice Paragraph
Q2. Discuss how two different modes are used in a text you have studied to represent
individuals or groups who experience trauma.
In his multimodal graphic novella, Requiem for a Beast, Ottley uses the modes of written text and
visual images, through graphic imagery, metaphor and the use of allusion to represent the trauma
that has been experienced by Aboriginal Australians through past events such as the Stolen
Generation. In Part Two of the text, Ottley uses a sequence of graphic imagery depicting an
Aboriginal Elder to represent a group that has experienced trauma. The sequence of images uses
mise en scene as the illustrations grows increasingly closer to the Aboriginal Elder’s face, particularly
the eyes which are symbolic for a window into the soul. Through this we can truly view the emotion
in the Elder’s face, hence we see the trauma that she has experienced. Ottley also uses a picture of
Aboriginal school children from the stolen generation which has been juxtaposed with the other
images on the page as it is askew. This represents how Aboriginal Australians were seen as different
and the ‘other’. Their heads are made to look out of proportion to make them seem almost bestial
and not meant to be seen as normal children and by depicting them in that way they are set to seem
as outcasts and of something to be abhorred. When the Aboriginal elder is giving her speech in the
community centre, she talks about how the young girls and boys, who had been stolen, felt ashamed
and irate by their circumstance. “For many, because they had been taken so young, there was no
bonding when they returned to their people. They didn’t fit in. And felt ashamed of that. They felt
angry that their parents had let them be taken away.” Through the use of first-person point of view
and syntax the trauma of Aboriginal people is shown. The first-person point of view of the Aboriginal
elder, who herself was part of the stolen generation, highlights the impact of being taken as it causes
trauma in trying to fit in with your family. The use of syntax in “They didn’t fit in. And felt ashamed of
that.” Emphasises the fact that being taken ruined their relationship with their family and as a result
they became disjointed and experienced trauma within their own community. Through Ottley’s use
of the modes of visual images and written language, Aboriginal Australians are represented in such a
way to demonstrate the trauma that they have experienced through the stolen generation.
Evidence:
Mise en scene – Elder’s face (especially eyes)
Juxtaposition – Image of Aboriginal Children from Stolen Generation (Alien-like)
POV – “For many, because they had been taken so young, there was no bonding when they returned
to their people. They didn’t fit in. And felt ashamed of that. They felt angry that their parents had let
them be taken away.”
Syntax – “They didn’t fit in. And felt ashamed of that.”
1st POV Elder
Reinforces Allegorical nature of text and bull as symbol of Aboriginal Australians being dominated by
white Australia – White hegemony (value): cultural dominance/superiority – Eurocentucism
Part 3: Lacrymosa
Latin: Tears/Weeping
Allusion – 18th/19th stanzas in Dies Irae

Mournful be the day on which the ashes will arise. The guilty man to be judged; O’God
have mercy on him… grant eternal rest
o Mourning, Redemption, Forgiveness
Structure: Gives backstory to boy’s internal conflict, relationship with father
Bunjalung:


Poverty, dispossession, displacement = impact of colonisation
‘taken away’, ‘been away’ = Stolen Generation
Juxtaposition:


Boys pursuit of bull against memories of childhood
Fathers story + trauma
Allusion:
Centaur:

War-like, drunk, violent, aggressive, assault(sexual),
Minotaur:

Bestial, inhuman
P51-55:
Boy recalls dream about Rudy
Rudy – Characterisation/Internal Conflict
Aboriginal Stockman (p24-25)




Brother committed suicide
Connection to land, livestock
‘Distant Sadness’
‘You’ve got it easy, you’re a whitefella’
Dream – Symbolic of racism/oppression faced by Aboriginal Australians still
Beast – Perception of Aboriginal Australians be White Australia
Q1. Discuss how a multimodal text you have studied is constructed to explore values of a
particular culture.
In Matt Ottley’s multimodal graphic novella, Requiem for a Beast (2007), symbolism, point of view
and written features are used to explore the stereotypical Australian culture where toxic masculinity
is a conflict that people can struggle with. The written features are shown as there is a suicide note
written on the boys computer saying, “if only you both knew I cheated. I bought results. I wasn’t the
brilliant student you thought I was.” The letter displays the pressure and the stress the boy had and
how he thought he had to prove to his parents that he was smart, and capable, so he bought the test
results to prove it and to hide that he may have been struggling. The boy was unable display his
feeling and emotions due to the stereotypes place on males in an Australian culture. The boy had
placed these internal pressures on himself is because he believed that it would show the
characteristics of a masculinity Australian male, such as independence and intelligence. But instead
of making him feel masculine and like a capable men in Australian society, it was caused him pain
and regret as he was unable to complete the task at hand ‘like he should’ve been able to ’ and had
to cheat in order to feel that he had made his parents proud. Through the third person point of view
of the narrator, the boy pursuing the bull is portrayed to value acceptance and the need to feel
masculine. “Now, he knows, is the moment he must seize if he is to capture the beast… But he can’t.
He is afraid.” This is accompanied by a close up shot of the boy’s face where he seems distressed.
The bull he is pursuing symbolises his internal conflict of his own masculine identity. He is afraid but
he feels the need to capture it in order to feel like a 'real man’ and to gain the acceptance by the
other stockmen and his dad that he desperately desires. Through the use of point of view,
symbolism and written features, Matt Ottley’s multimodal novella, Requiem for a Beast (2007), has
been constructed to portray the need and values of acceptance in masculine culture.
Evidence:
Written Features – “if only you both knew I cheated. I bought results. I wasn’t the brilliant student
you thought I was.”
POV – “Now, he knows, is the moment he must seize if he is to capture the beast… But he can’t. He
is afraid.”
Symbolism – Pursuit of bull symbolises internal conflict of his own masculine identity
Q3. Discuss how visual and written features are used to communicate the authors
attitudes in a text you have studied.
In Matt Ottley’s Requiem for a Beast (2007), racist and xenophobic attitudes surrounding a lack of
identity are demonstrated through visual symbolism, point of view and allusion. Through the first
person point of view of the boy, during his dream sequence, he hears, “the just audible drone of a
motorcar,” making reference to the story told by the Aboriginal Elder later in the novella whereby
“when anyone saw or heard a car, they’d all dive outside.” Through the allusion to the actions during
the Stolen Generation, Ottley provides historical context and displays the oppression and isolation
felt by Aboriginal Australians during this period. In Part Two of the text, Ottley uses a sequence of
graphic imagery depicting an Aboriginal Elder to represent the alienation and oppressions that
Aboriginal Australians faced during the Stolen Generation. The sequence of images uses mise en
scene as the illustrations grows increasingly closer to the Aboriginal Elder’s face, particularly the eyes
which are symbolic for a window into the soul. Through this we can truly view the emotion in the
Elder’s face, hence we see the trauma that she has experienced from the rascist attitudes that her
culture has had to endure. Ottley also uses a picture of Aboriginal school children from the stolen
generation which has been juxtaposed with the other images on the page as it is askew. This
represents how Aboriginal Australians were seen as different and the ‘other’. Their heads are made
to look out of proportion and they are drawn without eyes, this is to make them seem almost bestial
and unlike normal children and by depicting them in that way it displays the xenophobic attitudes
that White Australia held against Aboriginal Australians during the stolen generation. Through the
point of view, historical allusion and visual symbolism, we are shown how restricting and confining
these stereotypes and attitudes can be on a culture and it becomes clear Matt Ottley expressing
these concerns in 'Requiem for a Beast' (2007).
Evidence:
POV – “the just audible drone of a motorcar,” “when anyone saw or heard a car, they’d all dive
outside.” (Refers to story of Aboriginal Elder)
Allusion – Stolen Generation (Provides historical context)
Graphic Imagery – Alien-like Stolen Generation children (Represents alienation and oppression
during Stolen Generation)
Close Up – Eyes of Aboriginal Elder (Symbolises window into soul)
Representation of:
Attitudes
Individuals/Groups
Ideas
Issues
Values
Voice
Perspective
Context
Race
Racism/Xenophobia
Intergenerational trauma – inherited
Dominance/power – cultural hegemony
Stolen Generation *context*
Gender
Masculinity – toxic, conform, identity, acceptance
Identity
Individuals
Cultural Identity
Relationship -father/son, family, acceptance/belonging
Loss of identity
Wrath  Death and Nature – Frozen Weeping  Forgiveness
Stages that boys goes through as a result of the judgement placed upon him bayed on masculine
stereotypes.
‘Explore how text structures and language features communicate ideas and represent
people and/or events in one extended text you have studied.’
Evidence:
Mise en scene – Elder’s face (especially eyes)
Juxtaposition – Image of Aboriginal Children from Stolen Generation (Alien-like)
POV – “For many, because they had been taken so young, there was no bonding when they returned
to their people. They didn’t fit in. And felt ashamed of that. They felt angry that their parents had
let them be taken away.”
Syntax – “They didn’t fit in. And felt ashamed of that.”
POV – “the just audible drone of a motorcar,” “when anyone saw or heard a car, they’d all dive
outside.” (Refers to story of Aboriginal Elder)
Allusion – Stolen Generation (Provides historical context)
Graphic Imagery – Alien-like Stolen Generation children (Represents alienation and oppression
during Stolen Generation)
Close Up – Eyes of Aboriginal Elder (Symbolises window into soul)
Written Features – “if only you both knew I cheated. I bought results. I wasn’t the brilliant student
you thought I was.” >> Bull in reflection (Boy sees himself as beast)
POV – “Now, he knows, is the moment he must seize if he is to capture the beast… But he can’t. He
is afraid.” >> Followed up by close up shot (Reinforces Internal Conflict of his own masculine
identity)
Symbolism – Pursuit of bull symbolises internal conflict of his own masculine identity
Motif – Eyes used to display depth of emotion >> Generally sorrowfulness >> Window into soul
Quote – “Something inside him echoes with his father’s voice and, deep within his fear, calls to him.
It claws so urgently despite the head stockman’s warning, despite the dread that pounds in his chest,
he cannot ignore it. ‘Go with the bull,’ it says. ‘You must take the bull.’
POV/Connotative Language/Allusion/Emotive – “I’m supposed to be fully initiated woman, but that
knowledge, that memory, is gone”
Quote – “How do I fit in this place”
Syntax – We were never allowed any contact with the outside. No letter. No photos. No telephones.
No contact.”
Dialogue – “Did anyone think dare to think it possible to wipe the countless generations of
knowledge that is in us?”
Masculine stereotypes forces the boy to face internal conflicts in order to conform, which
can result in losing himself in the process
Boy sees himself as a beast because he cannot conform to masculine stereotypes,
therefore he sees himself as different
'Requiem for a Beast' is a picture book that has three intertwining stories. One is about a
young man who follows in his father's footsteps as a stockman and his attempt to capture a
wild bull, but instead ends up on a journey of self-discovery while battling with his own
dreams and childhood memories.
P1 – Elder: Close Up/I was meant to be fully initiated (Impact of oppression on
individuals)
P2 – They didn’t fit in, they were ashamed/ Aboriginal Woman Face fractured
(Oppression left Aboriginal culture fractured)
P3 – Bull and Alien-like aboriginal children (Aboriginals were seen as different)