EXEGESIS

The identity of this blog is a combination of two focus genres: animals and humour.  The logline construct can be summed up as, "The cartoonist who loves animals."

 

The cover photo was chosen because of the meme-worthy "deer-in-the-headlights" look on the otter's face, as he held on to his catch.  The signified association with the identity of the site genre is exaggeration and comedy.   In basic genre theory, the application of recognisable signifiers of genres enhance quick psychological associations and facilitate learning and recall.

A good zoom lens and a steady hand are essential for wildlife photography, plus patience and awareness.  Particularly useful is an awareness and anticipation of movement.  All these qualities are evident in this single shot chosen as a representation what this site is about, and by extension, a part of my identity.  Hence, it can be inferred from Ferdinand de Saussure's studies on semiotics that these qualities: steady hand, patience, awareness, anticipation, which match well with the qualities of a cartoonist, can be subtly associated with the creator of this site. 

A matching signifier related to the humour genre, the title font combination was chosen to mimic the motion-blur of the TRIGGERED meme.   This works well and forms a synergy with the picture, transforming the combination into a parody of the meme itself.

An earlier alternative version using the font in the Singapore Night Safari logo was tried out.  The font would be an excellent recognisable signifier of animals in the local context.  However, when weighed against the motion-blur effect juxtaposed with the wide-eyed otter, this version paled in comparison.

https://www.flickr.com/photos/wills/124093984

Each ianimal post is short, but curated to support the genre mix, the combination of photography of animals and humour.  The formula of each post can be broken down into the common comic structure "expectation / reality" with a twist.   Most of the captions also include the use of double entendre.

© 2018 by Ian Ang. 

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