This chapter focuses on a visual and textual analysis of the usage and placement of the moon in Matt Ottley’s award-winning book Requiem for a Beast. This supposed children’s book caused a furore in the media and some Australian literary circles when it won the 2008 Australian Book Council of Australia Picture Book of the Year award. Ostensibly, it was written and illustrated for children with a metonymic focus on the treatment of indigenous Australians by the white populace. This theme alone was, and still is, the cause of ongoing consternation. However, the use of adult language and a “red thread” of ancient mythic images dealing with the intersection of indigenous and white Australia added to the virulent nationwide reaction in many quarters. In actuality this text is a multimodal Gothic graphic novel. While one of the surface narratives deals with a young man working at an outback cattle station, other interconnected layers focus on unresolved contemporary issues such as the “stolen generation”, the voice of indigenous females, indigenous genocide and Aboriginal self-concept. Situated paratextually in this text is the iconic motif of the full moon, which in this case acts as paratextual resonance, an intertextual bridge and metonymic echo between all of the narratives enmeshed in the Requiem text. Although on the surface the image of the moon appears as a simple endophoric reference point, as indicated it is actually a pivotal intersemiotic reference between the cultural fault lines highlighted in Ottley’s book. On the one hand, in Western narrative the moon is a polyvalent feminine-menstrual mythopoeic symbol, also representing the Greek bull-god, on the other hand in Aboriginal lore the full moon tends to represent a masculine identity. Thus the moon as “shape shifter” in “Requiem for a Beast” acts as one of Gothic’s oldest sign-signifier interfaces enabling a sifting through numerous colonial tensions, not the least of which is the ongoing stain of Australia’s colonial past remaining in the present.