And so graphic novels communicate to the mind differently in the sense that it adds sensual dimension to the activity. The graphic images and the way they are presented in the graphic novel mimics the way we experience sensual data. In Satrapi’s Persepolis, for instance, the text is only used to help us understand our subjective sensations. Furthermore, in this aspect, I would like to note that images appeal more to our memory than the written texts because they represent our experiences. This representation is significantly more effective because it is visual an attack that makes use of a symbolical communication to our memory, thus heightening a better connection to the reader.
There are several other instances wherein images are able to do some things that simple writing cannot. One of these is the reflection of the author’s intentions, biases and personal involvement. Most of these elements are subconsciously etched in the images that he or she have drawn. For example, in Persepolis a man orders the tearing down of a statue of the Shah and he was depicted as one who looks like Marji’s father. Then on another scene he is seen ordering his servant to stop seeing the neighbor’s son because the servant had to stay in her social class.
This critique of her father is depicted where no words could explicitly capture. For the two scenes, Satrapi was able to convey her opinion towards her father and at the same time provided the viewer the opportunity to see the relationship of the private and the public life in Iran. Another example that demonstrates this dimension in graphic images is during the part exploring the theme of Iran’s war with Iraq. While watching television, the family witnessed the playing of old national anthem and the family was overwhelmed.
Marji’s father insisted on checking BBC for news on the attack on Baghdad. When the story about the Iranian raid was reported,
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