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Style Analysis
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        Marjane Satrapi’s style is obviously influenced by the genre in which she has classified herself.  Whether you call them comics or graphic novels, they are still the same thing, and thus have the same style.  To begin the analysis of Satrapi’s style, one must know that there are many things that influenced it.  For example, before reading Art Spiegalman’s Maus: A Survivor’s Tale, she saw comic books as simply comic books, but after her experience with his story, she realized she had a passion for it.  Like Spiegalman she began using flashbacks in her novels.  Satrapi and Spiegalman use them various times in their novels to reveal something of great importance of the character that they are speaking of.  She like him also uses narratives, which come from the view of different characters, depending on which one they are developing at the moment.  Satrapi develops and speaks the mind of characters that she created, to show the different views of the government that people had.  Obviously most people outside of Iran disagree with their government and all the things it has done, so she as an escapee would be expected to show only the negative of her country, and to never let someone that agreed with that government speak in the novel.  But she does, and that just demonstrates how she can put both sides of the story and give the audience second thoughts of whether young Marjane and her family were right, or the government.

            Furthermore, Spiegalman was not the only person that had influence over Satrapi’s style, an artist named David Beauchard, also known as David B. inspired her greatly.  She adopted many of his drawing styles such as the simple and not detailed drawings.  It is clear that something else that influenced her greatly was her childhood and the war with Iraq.  She comes from a place where people are always told what to do and what to think and her graphic novels were able to give her that escape that she needed.  She realized that nobody in her country could tell her anything, as long as she wrote them somewhere else.  The novels gave Satrapi the opportunity to demonstrate what children went through in those days.  Because of the child-perspective that she had, most of her novels are told with simple diction.  She does not use eloquent words that would confuse people; she simply states it as she saw it when she was a young girl.  This simplicity is similar to the way she views her life.  Although she is great great granddaughter of Nassar al Din Shah, one of the Shahs from Persia, she does not think it is such a big deal, because in her country they make people think it is not a big deal.  She explained in an interview that he had many wives, and thus thousands of great great grandchildren, so it would not have made a difference.  Furthermore, women are taught to be almost invisible, and in her novels, she almost always draws herself in the background.  This simply proves that she still feels the need to be invisible because she was told to do so for so long.

            Another interesting technique that Satrapi’s style has is even in the worse times, she will place some kind of sarcastic or ironic, or simply comical remark, and that allows the audience to forget about all the pain that she is going through.  It is almost as if she is poking fun at the misery that she and thousands of others went through and are going through.  The purpose of this is to show that even in the worse of times, one must try to stay calm and not think about things so much because that will only bring the end faster.  One last thing that is part of Satrapi’s style is her vulgarity in her novels.  She often makes the characters in her novels curse, but rarely shows herself cursing.  This could be so because she was taught that these things are not very “lady-like,” so to get back at her country she curses, knowing that it is something that does not sit well in the eyes of her people.  The ironic part is that she never curses herself though.  It seems like she is still afraid of doing it, even though she is not in Iran anymore.  This proves that even outside of Iran, Iranian people will always feel the pull of their government and the traditions under which they were raised.

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http://www.iranian.com/Books/2002/November/Satrapi/