How does Lynda Barry's text One Hundred Demons employ media and/or modes? What do you find particularly challenging? What tensions, ambiguities, or uncertainties may an intermediality/modality scholar encounter when dealing with the text? How does the literary text test the limits of theories of intermediality and/or multimodality?Lynda Barry, One Hundred Demons (2002), pp. 98–106

When it comes to Lynda Barry's colorful graphic novel, intermediality and multimodality basically mean the same thing: Barry uses several types of media to tell her story. The bulk of One Hundred Demons is hand-drawn comic strips, but Barry also employs photography, typography, origami, and various crafting supplies in her storytelling—particularly in the collage pages that introduce each "demon," or chapter. For example, in the two-page spread that starts "The Visitor" (pp. 110–111), Barry incorporates drawings, feathers, fabric strips, photos, glitter paint, and an origami pinwheel.
The effect of these mixed media collages is that they make each copy of her book seem like it's an original artifact. One Hundred Demons doesn't feel like some mass-produced book whose pages flew off a printing press somewhere in Nowhere, New Jersey; instead it feels like a carefully curated scrapbook of Barry's observations, experiences, and perceptions. Or, to put it another way, Barry's use of multimodality grabs the reader by the eyeballs and says, "Let’s get personal."
http://imagetext.english.ufl.edu/archives/v9_2/introduction/introduction.shtml