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Conversely, while Brown’s referential narration refuses entry into Andre’s inner life, it illustrates the entanglements of the self with others and the convergences of professional and personal identity. The narrative blurs the lines between biographical writer and subject by depicting the narrator, author, and subject as a single individual so as to create an intimate portrait of Andre as a conflicted, but spectacular figure. Easton and Medri’s introspective first-person narrative centers on an internal conflict between the person of Andre and his professional persona. Through comparative analyses of the paratextual elements, openings, and climactic moments of Closer to Heaven and Life and Legend, I demonstrate how these differences reveal the illusions required to construct graphic biographies from Andre’s life. In contrast, Brown shapes Andre’s life with simple characters and sparse backgrounds. Medri’s bombastic and detailed illustrations resemble superhero comics. Although the narratives of both graphic biographies similarly follow Andre’s life from childhood to death, each biographer fleshes out his comic within his own writing and drawing style. The graphic biographers select, visualize, and assemble individual moments into a sequential narrative in order to gain insights into the professional development and private life of this famous figure. Just as kayfabe requires the acts of wrestling matches to fall under the illusion of reality, the form of comics and the generic expectations of biography require the construction of sequential images and a coherent narrative out of the disparate events of Andre’s life. Kayfabe, therefore, further obscures the lines between Andre’s public persona and personal identity. The illusion of kayfabe often requires wrestlers to maintain their personas in a ‘practice of sustaining in-diegesis performance into everyday life’ ( Litherland 2014: 531). ‘Kayfabe,’ which derives from an ‘old carnival term professional wrestling’s fairground and circus roots’ ( Litherland 2014: 531), refers to ‘the illusion that wrestling a legitimate sport and not scripted’ ( Schulze 2014: 55). These negotiations also require the biographers to contend with the performative or narrative convention of kayfabe. The texts negotiate the blurred lines between Andre’s professional persona and personal identity, and between his embodiment and performance, as they each construct a life narrative for Andre.
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In wrestling culture, inserting an ex-diegetic injury into the diegetic narrative of the wrestling match is referred to as “keeping kayfabe”.Īs recent graphic biographies of Andre, Box Brown’s Andre the Giant: Life and Legend ( 2014) and Brandon Easton and Denis Medri’s Andre the Giant: Closer to Heaven ( 2015), demonstrate, the culture of kayfabe and Andre’s spectacular body affected how both other wrestlers and the public perceived him. The World Wrestling Federation (WWF) scripted his broken ankle into an earlier match with Killer Khan, thereby maintaining Andre’s undefeatable wrestling persona and furthering the feud between the wrestlers. He was an - ‘unstoppable force’ ( Brown 2014: 69). From the beginning of his wrestling career in 1963 until his death in 1993, the strength and size of Andre’s body defined how his matches were ‘booked’ or scripted in the wrestling arena. The glandular condition acromegaly, which caused his spectacular strength and size and made him a sensational figure in professional wrestling, began to break his body down when he was in his thirties.
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As seven-foot-four professional wrestler Andre Roussimoff, better known as Andre the Giant, stepped out of bed one morning in 1982, his ankle snapped beneath the weight of his five hundred pounds.