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The eyes of the wolves are filled with the same amber hue found on the title page, confirming these are the same culprits staring you down as you enter the story.

The wolves are bursting towards the right of the pages, leading to their new adventures in the house and the risk they pose for Lucy and her family. Two of the three wolves being placed near the top of the page is no mistake, it reflects their triumph in their newfound freedom from the walls.

The use of a full bleed pulls the reader further into the situation, as if the wolves are entering their home as well.

The distance of the bottom wolf, so close that its bottom jaw extends off the page, creates a swirl of emotions such as empathy for the family and a greater pull into the story.

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Use of comic book-style paneling with white space to communicate an ordered passage of time. This framing is used repeatedly in conversations between Lucy and her family.

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It can be argued black is used in a double spread for both end pages to contributes to the mystery, the unknown; what really happened?

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The cover of Lucy with a pencil drawing in the wolf alludes to the Wolves being a figment of her imagination or something of her creation and not in reality. She's looking at the reader as if to point at that she knows that she has been drawing the wolves.

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The book jacket is designed with what looks like a wall paper to make the reader feel as if the Wolves are really within the walls because they are in the book. The jacket creates the walls that are around the story.

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The tuba is the background of the title page because it plays a pivotal role in the story. It is one of the ways that an important person in her life spends their time other then focusing on her. This follows along with the idea that this is Lucy's way of acting out to get attention

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The title is in a font resembling handwriting, suggesting that Lucy, holding a pencil, wrote it. This gores along with the idea that she made the story up because it could be interpreted as her writing.

DEMAND is present as Lucy stares at the reader, mid-drawing. She is demanding attention, from both the reader and then her family in the opening pages. Some may argue her need for attention is what creates the story, if they believe she created the wolves with her drawings.

Image does not exist anywhere in the actual story

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The cover of The Wolves in the Walls gives the reader a good sense of what they can expect from the book. Both Lucy and the wolf inside of the wall look at the reader, giving the cover demand and drawing the reader in, inviting them into their story. We see Lucy drawing a wolf on the wall, indicating that she wants the other characters in the book to see that there are, in fact, wolves in the walls. These hints, from the start, indicate to the reader what they can expect when they enter the story.

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The two amber wolf eyes stare back at the reader, demanding attention and recognition, something not given by Lucy's family in the early stages of the story.

The blend between real pictures, such as the tuba, and other elements such as the title appearing to be cut out of cardboard, reflect the possible blend between truth and what was created. The collage format is also a fascinating texture, enticing the reader to touch the pages.

The wolves are peering out of the holes in the letters in the cardboard, hiding behind it like the walls in the story.

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Evidence of how the wolves were looking through the cover

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The framing does a very good job of making the book dynamic. It uses panelling to show the passage of time as Lucy tells her family of her suspicion. Three types of framing are used in the book: Full bleeds (both double and single page), Panelling with a white border, and pages with a white border. On the 21st opening, on the right hand page, the first frame break is visible. The wolf crouching in the image has his tail sticking out of the image, the jam that has been splattered on the walls is coming out of the frame, and the phone the wolf is playing with is also falling out of the frame. This may indicate that the chaos of the wolves' takeover is coming to an end. They are too wild to be contained within the confines of the book. This idea is further supported by the fact that, nearly every time the wolves are pictured, they can be found in a full bleed

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Neil Gaiman was born in Hampshire, UK and currently lives in the United States. He has fostered a deep love for books since he was a young child. Gaiman has enjoyed a very lucrative career writing for readers of all ages both in children's books and several book series. The Wolves in the Walls won three awards: The New York Times Best Illustrated Children's Book (2003), The IRA/CBC Children's Choice award (2004), and The British Science Fiction Association award for Short Fiction (2003). The Wolves in the Walls also went on to become an opera in the Scottish National Theatre in 2006, winning TMA Best Show for Children and Young People in the same year. Gaiman got his inspiration for the book when his daughter told him about a nightmare she had where there were wolves in the walls. Gaiman is a New York Times Bestselling Author and has written many beloved books including Coraline and American Gods.

Gaiman has worked with the illustrator of The Wolves in the Walls, Dave McKean, on several of his children books including The Day I Swapped My Dad for Two Goldfish, Coraline, and Crazy Hair.
http://www.neilgaiman.com/About_Neil/Biography
https://en.wikipedia.org/wiki/The_Wolves_in_the_Walls
https://en.wikipedia.org/wiki/Dave_McKean#Children.27s_picture_books

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In the 19th opening of the book, a single sentence, "The family went to sleep in the walls." is left outside of the framing. This is a clever way to indicate to the reader that the family is safely removed from the danger of the wolves. They are hidden behind the barrier of the walls just as the sentence itself is separated from the story by the barrier of the framing.

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It's possible that it could represent nighttime, indicating the story is all a nightmare of Lucy blowing a common phrase (everything's over when the wolves come out of the walls) out of proportion.

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This could also mean that Lucy feels empty and so in order to fill the pages up with a story, she created the wolves which allowed for her parents to spend some time with her. Then Lucy needs to create the elephants at the end of the story because her family fell back in to the old ways of not spending any time with her.

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The front cover of Wolves in the walls depicts the main character Lucy creating the wolves that are present in the book. Lucy is making eye contact with the reader to help draw the readers attention in. The illustrations help give the reader an idea of what the book will contain, and how the wolves first came to be.

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The book jacket aids in giving a preview of what the book will be about and what the reader can expect from the book. By giving a brief quote the intent is that the reader will want to know more about why the wolves are inside the walls and how they got there.

On the right hand side of the book jacket the reader can gain more background information about the author and illustrator and previous projects that they have worked on.

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"When I first read the book, I had a hard time understanding the author’s reasoning behind his story. My first impression was that it was a very whimsical take on a child’s imagination. It was an interesting and unexpected type of story, particularly in the way that the saying “It’s all over when the wolves come out of the walls” reverses to humans coming out of the walls at the end of the story, providing a fascinating turn of events to the reader."

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https://youtu.be/hyxZS-2yngw

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The first, and arguably most important role of the jacket is to indicate to the reader what they can expect from the inside of the book. The jacket is green, extending the color pallet of the entire book (greens, browns, and grays). It also adds context and helps the reader understand the concept and general mood of the book before they even start the story.

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The image of the title page helps set the scene for the book. The realistic wolf eyes are peeking out at the reader causing a demand that draws the reader into the story. This closely resembles the cover and when we see a wolf peek out of the wall in the book itself. This title page also manages to slightly unsettle the reader. the background is what seems to be an up close picture of a tuba that has been scratched up in patterns. It appears that the wolf is peeking through a tear in the picture, giving the reader the impression that the wolf is hiding in the book itself.

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This picture represents a turning point in the story where the lines of reality are being blurred. The first, and most prominent, feature of this image is that the art style shifts. When the wolves come out of the walls, they are sketches, reminiscent of Lucy's drawings of the wolves, making it seem as though the wolves do not actually exist in Lucy's world, suggesting the wolves are in Lucy's imagination, maybe even in her nightmares. They are running to the right suggesting they are venturing into a new world. The image is a two page full-bleed, making the moment in the story very immediate to the reader.

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My perception of the book has greatly changed throughout multiple readings. My first time through, I was not very enthused by the story, I thought it was shallow and random. But, as I dug deeper into the artwork and background of the story, I began to understand the underlying story hidden in the images. For example, when Lucy sneaks back into her room, the picture she was hiding behind was an elephant. This hints that the story, and the elephants attacking later, are all a part of Lucy's imagination and the incident with the wolves is just a nightmare. This can be supported by the black end pages and the fact that the wolves are in a different art style, suggesting they are not from Lucy's world. In the end, after digging in deeper to the story of the book, I found that I really enjoy this book for its complexity and whimsy.

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While my own personal interpretation of the events that occurred in the book was not significantly altered, researching and re-reading into the story with new lenses has greatly expanded my mind to the many possible viewpoints of other readers. Using the information we have learned about reading images, I enjoyed attempting to decode subliminal messages hidden in plain sight by illustrator Dave McKean. Visiting each page repeatedly and with such scrutiny allowed me to notice tiny elements such as a break in framing and the use of limited speech bubbles, and wonder about their contribution to the story as a whole. Having chosen a book with an element of mystery and confusion made the hunt for answers all the more rewarding.

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After re-reading wolves in the walls many times, I have come to really enjoy the book. I can now understand it better due to the background information I have done on it. For example the more I read it, I notice more and more things in the illustrations that I did not notice before. An example that I did not notice before was how some of the pictures in the book were really taken and how some of the images are drawn, this is an important detail I believe because it helps show the reader what part of the story is real and which is a part of Lucy's imagination.

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After analyzing the story I understood why the story was written the way it was. The style of drawing was used to show the difference between reality and what was fake. The drawings made me think back to the cover with Lucy and her pencil, showing that the wolves are not real but something that she has created in order to bring her family closer. Also, knowing that the story was inspired from one of Neil’s daughters nightmares helps me gain a better understanding for the colors that are being used as well. Both the drawings of the wolves and the background knowledge of the story helped me come to the conclusion that most of the story is made up from Lucys imagination. That also makes the story more understandable as it does bounce around somewhat.

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In the the 24th opening of the book, the page is a full bleed of the wolves emotions when the people first jump out of the walls. This page also has the same background making it look like the wolves are just drawn on and not in reality. The wolves take up most of the page and are very close to the reader making the reader feel bad for the wolves getting kicked out. The wolves are also facing to the left of the page because they are returning back into the walls, where they are most comfortable and safe. The sporadic writing brings up the fact that this is a time of panic for the wolves.

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Jake

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Each illustrations in Wolves in the walls directly relate to the text. The illustrations help to intensify the story. For example on page 8 if the reader was just given the text " In the middle of the night when everything was still, she heard clawing and gnawing, nibbling and squabbling. She could hear the wolves in the walls, plotting their wolfish plots, hatching their wolfish schemes." Without the illustration the reader could assume that Lucy is not scared of the wolves, but when the reader is given the picture, the reader understands how truly terrified Lucy looks. Her eyes are very wide and she is seen sinking down into her bed, without the illustration the reader could not understand how truly frightened Lucy is.

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Evidence of how the wolves were looking through the title page

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The author leaves many gaps towards the end of the book, for example the book end with Lucy's claim that their are elephants living within the walls, but no other evidence is supported by Lucy's claim except that her family soon finds out that their are elephants living in the walls as well. The only things left from the elephant is a simple print of the elephants foot and a stepped on jelly sandwich leaving the reader wondering what happened next.

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Also, Lily, the image shows that the story is the complete opposite of how it was at the start, just like how the saying "everything is over when the wolves come out of the walls" is flipped around when the people come out of the walls.

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The use of "speech bubbles" is another interesting element throughout the text and images. When speaking to her pig-puppet, in multiple instances Lucy's dialogue is framed in a speech bubble. When the wolves are speaking, such as one exclaiming "Whose idea was this anyway?" when being chased out of the house, a speech bubble is also present. The only other instance with a speech bubble not from the wolves or the pig is when Lucy first tells her mother "There are wolves in the walls [...] I can hear them." Since speech bubbles are otherwise only present in imaginary conversations, such as the wolves talking, perhaps this is a clue their presence in the walls is also in her head.

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This picture shows the wolves are drawn in pencil to show that the wolves in the story follow along with the idea that they are not real but a figment of Lucy's imagination. The background of the page looks like pieces of paper that are spread out over the page. This shows that the wolves really are not so much apart of reality but apart of Lucy's mind and this drawing is done by Lucy in a sketchpad.

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The quote included on the book jacket CLOSELY RESEMBLES a quote found on the fourth page, and talks about the noises in the walls. It reads "There are sneaking, creeping, crumpling, noises coming noises from inside the walls." It is an adaptation of the actual quote, "They were sneaking, creeping, crumpling noises." The noises in the wall is what jump-starts the story,  inspiring Lucy to claim there are wolves in the walls to her busy family.

Credibility is given to the author and illustrator through their personal bios on the right jacket and the mention of another work by the same author and illustrator, Corlaine, that was a New York Times best-seller. The personal bios on the right jacket, therefore seen at the end of the book, offers the finished reader a greater connection to the story by learning about its creators.

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Below is an instance where the words of the book do not match the illustration on the page. It is said the wolves had "made big holes in the back of [the family's nicest clothes] for their tails." However, in the illustration, there are no holes in the pants and the tail is sticking out. between the shirt and pants. It appears to simply be the choice of the illustrator, rather than a purposeful disconnect.

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The Wolves in the Walls by Neil Gaiman Illustrated by Dave McKean