Satrapi’s graphic memoir, Persepolis focuses hugely on the loss of innocence of Marjane, which she illustrates by using several techniques such as the sizes of figures and the contrast of shades, as well as the of details, or lack thereof she includes in her drawings.
Marjane’s drawings are more than mere illustrations; they are drawn the way they are for a reason. Figure sizes throughout the book vary to show the importance or maturity of the characters. In the beginning of the memoir, Marjane is depicted as a small girl, considerably smaller than her parents and all other grown-ups that surround her. Though Marjane is very aware of her situation, and a lot smarter or conscious than other children her age, she is still childish and
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The first time Marjane experiences violence personally is at the protest she attends with her parents. The sixth panel of page 76 is the first time we see blood in her drawings. After this scene, her depictions of violence are a lot more realistic. For example the last frame of page 96 depicts a man, holding a knife, surrounded by a pool of blood, which also covers the knife. Had this image appeared earlier in the book, before the violent protest she attended, the blood would have been missing from the picture. The fact that Marjane includes more graphic and realistic details as the story advances signifies that her naivety has been lost because she has witnessed violence in person, she has lost loved ones due to the war, and even though she is still young, she is very mature for her age because she has been forced to grow up and experience a lot of traumatic events. Marjane Satrapi’s memoir very clearly depicts her loss of innocence, caused by the war and violence she grew up with. She demonstrates this indirectly, by using several techniques. She intentionally changes figure sizes, the figure’s clothing and the details of the violent scenes to depict her emotional growth during this important part of her