“Coma” has invited multiple criticisms regarding its affective qualities (Belling, Charpy and Crellin). However, these studies have simply evaded the mechanics that bring about this effect using the term “sensational”. Scholars on medical thrillers have pointed visceral and emotional responses, but the problem lies in the construction of an alternative medical world that is completely opposed to the normative presumption of a medical institution in our contemporary medical culture. How does fiction enable it? This study explores the mechanics of narrative by analysing “Coma” through a close reading, using Catherine Belling’s concept of “depth perception” and various theories of grotesque by Wolfgang Kayser, Connelly, Jennings, Anderson and McElroy. It aims thus to understand the characters and the techniques of narrative with a focus on settings and mood.