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Atmosphere: There is an atmosphere of excited hostility. Marji dreams up some creative punishments for whoever loses the innocent games between her and her other young friends. Instead of simply incentivising victory with pride, she threatens her friends with violent and painful punishments, which reflects the rage she feels about Ramin’s father being a part of the Savak, thus targeting Ramin. This is ironic because Marji is innocently imitating what she has seen in the Iranian Revolution and does not recognize the brutal weight of these actions. Marji demonstrates the discomfort that she and her friends will feel as they are “tortured.”

Author's Choices: We know Marji is imagining these punishments because of the caption on the first panel which explains that Marji has an imagination. Marji’s presence in every panel of this sequence, wearing the same zig zagged top, also clarifies that these panels are taking place within her mind. We see Marji demonstrating punishments in the first panel as emanata is used to direct the motion of her fingers, carrying out the moustache-on-fire tortures. The third panel also emphasizes the disgust of the torture itself as the trash can and torturer bleed off the page. The graphic weight further highlights that this is taking place in Marji’s mind as there is no back, mid, or foreground apart from the person being tortured. These panels also show the development of Marji’s sadistic dreams as in the first panel, she is wide-eyed and concerned just like Ramin in the second panel. In the second panel, Marji has a playfully angry expression with her eyebrow turned down and a mischievous smile on her face, pleased to be punishing Ramin. Additionally, in the third panel, Marji appears quite angry as her eyes are turned down and her mouth is wide open, but appears to be in a frown.

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Description of Atmosphere:
The atmosphere in the panels is one of annoyance. The Shah is firmly laying down the means to creating peace within the country. Yet, Marji’s dad is yelling at the Shah to be quiet. The mom is quick to silence him in hopes the Shah is truly listening to the revolts. The last panel completely crushes that hope as he is seen dismissing all the prime ministers with his nose up.

Author's Choices:
We know the Shah is trying to regain  control in Iran because of his body posture that is rigid and affirmative. He looks straight at the television, knowing what he is addressing without stumbling. In the next panel we see the Shah doing a friendly gesture. The Shah’s palms are together to change his posture from rigid to friendly in order to sway people to his side. Marji’s dad is unswayed based on his downward eyebrows, wide eyes, and scowl. He even yells at the television just to get his anger across. Marji’s mom on the other hand, has her hand on her face, her eyes completely glued to the television. She is focused on what the Shah has to say about their revolts as she is hoping for a change. The last panel proves the dad was right to be angry as the Shah is seen strolling right by the prime ministers with his nose up and eyes closed. The Shah doesn’t even want to look at them as he just gives a passive comment as to why he’s dismissive of them.

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Ella S. (Part of my previous explanation)

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Ella S. (Part of my previous explanation)

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Description of Atmosphere:
There is an atmosphere of elation and relief. After the revolution, people are liberated and relieved that they survived. People are running toward their loved ones and jumping into each other’s arms to show their gratitude for their survival.

Author's Choices:
We know that people are relieved by their liberation because they are seen running to their family members. Everyone is excited to see the family members that were imprisoned. The caption shows the reader the significance of the liberation. 3000 people were freed from the darkness of the prison. The dark wall of the prison and the light door that people are coming out of, signify the people leaving behind the darkness of their imprisonment for the light and joy of the outside world.

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Atmosphere: There is an atmosphere of burdened arrogance in this panel. Marji and her two friends are casually walking through a grove of trees together. Marji is confidently describing the horrors her family has endured to prove to her friends that her family was full of strong-minded heroes who resisted the Shah and survived his punishments. One of her friends is tenaciously thinking that what Marji is sharing is too much for children such as themselves to carry the burnden of knowing.

Author's choices: We know that Marji is being overly confident because of the length of her word bubble relative to the typical short speech style of the graphic novel. This is also made clear by her friend’s thought. The graphic weight of the dark trees, shadows, and silhouettes contrasted with the light background in a splash across most of the page emphasizes how the knowledge of the brutality and violence carried out under the Shah is too heavy of an emotional burden for the children to carry. This is further emphasized by the camera angle which shows the friends’ backs as they walk from the midground into the background. This positioning depicts the children as simple figures, hunched over as they have to grapple with the complexity of the conflict and the social pressure to have some connection to the fight of the Iranian people themselves. Marji clearly expresses the need to prove herself (as an extension of her family) through her confident pattern of speech.

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There is an atmosphere of not only ignorance and irrationality but also satisfaction. Marji is bragging about what her uncle has been through which helps her achieve what she beliefs is satisfaction and happiness. She feels that the more someone suffers, the more he/she is a hero, making her blind to the suffering her uncle has been through.

The use of the shadow represents everything that has made Marji feel unimportant and sad which she is walking away from. The shadow is also similar to her dark side as she speaks. This dark side is her insatiable desire to brag about things she's passionate about and has never done herself. The light symbolizes Marji's happiness. She believes that the only way for her to obtain this happiness is by having a hero in her family, which happens through her uncle Anoosh.

However she does not understand that the happiness she achieves is at the expense of someone else's and is blindly walking ahead without stopping to think of the consequences.

The trees have a wispy design, indicating that Marji is living in one of her dreams. Her dream is to have a hero in her family and it is fulfilled because of Anoosh. A wispy design is also normally associated with mysterious and uncertain settings.

Since Marji is walking through the trees it shows that while she is living her dream by bragging about Anoosh, the situation still has another side that is hidden from her understanding. This hidden side is that she doesn't understand just how horrible the situation is and that it is wrong to brag about the suffering of others. Even her friends' dialog helps the reader understand that people don’t understand Marji’s obsession over the hardship of others and with her detailed explanation makes them feel uncomfortable.

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Description of Atmosphere

Marji in her head is feeling powerful. Her father was not a hero and her mother is a killer. She went out into the street feeling diabolical and powerful. Her looking at her reflection into the mirror with horns on and normally standing without them symbolizes the little devil that is taking control of her.

Authors Choices
The camera angle of Marji is very unique, it is called over the shoulder, making it so that we can not see the expression on her face, only the reflection. Her face is very angry, powerful, and mean. The wrinkles on her reflected face show evilness and hatred. With this over-the-shoulder shot we can also see that her actual body does not have the devil horns coming out of her head, which shows that this is how Marji is envisioning herself. The background is very dark, which allows for this reflection to really stand out. Marji is wearing a very busy shirt, located in a very plain background, allowing her to stand out.

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Interpretation: This panel creates an atmosphere of foreboding and a false sense of security. Marji’s parents are confident that they now have freedom and happiness, while Marji is skeptical and worried. There is a claustrophobia to it that shows that they shouldn’t be comfortable with the situation that they are in, as bad things haven’t been pushed that far away, even if they say that things are good.

Analysis: Marji’s father holds his head up high, closing his eyes with his hand held out, showing that he is confident and declaratory in what he is saying. He is confident that they have freedom and something to be happy about, changing the subject away from the bad things.
The mother is also confident and relaxed, sitting back in her chair and leaning her head back, eyes closed, happy for the evil to finally be gone. She is saying that “the devil has left”.
However, Marji is upset that her parents won’t discuss the future bad things that could happen and what to do about them. They want a moment of peace, but Marji won’t allow it.
Marji’s fears might be right, as the devil surrounds the panel and encloses it, taking away their freedom that they think they have. The devil has an outstretched hand, showing that it still has influence in the things that are happening. It has a facial expression of disgust at the people taking a moment of freedom.
The people cast a long shadow in a background of only light. They are looking forward into the light, not backward into their shadows. The parents have their eyes closed, blissfully unaware of their dire situation.

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Description of Atmosphere:
The atmosphere within this panel is joyus. The panel shows the country's reaction to the recent news about the Shah which they described as a moment of “Euphoria”. The in the panel are holding up peace signs in honor of this momentous occasion.

Author's Choices:
Though it is a single panel the effects used within the comic were bleed/splash. This moment in the panel was after the Shah's Reign and his departure. The people cheering with mouths open couldn’t control their excitement. Their arms are waving in the air without fear or rigid posture. The people are bleeding off the page to highlight the mass of people celebrating. Mostly everyone in the crowd has peace signs to show the peace that is happening in Iran. The splash took up the whole page and was created to show the massive change in Iran and how that affected Iranians; the battle was “over” and there would finally be a moment of peace(hence the peace signs)

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The atmosphere is of elation and relief. In this panel the political prisoners are being released to their family members. The prisoners are rushing out to reconnect with family members and lovers and friends. They have their hands and the air and are running out, clearly elated to be out of the dark, oppressive, prison building behind them.

The author chose to make the prison a purely black and tall building to represent the oppressive misery of what took place there. In contrast, the doors to their freedom are white and bright, representing their newfound hope.

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The children are talking very casually about their fathers/their father’s friends and their experiences, while they’re not fully comprehending the scale of pain and brutality they had to endure. To them these are casual conversation topics, not truthful atrocities. This creates an uncomfortable mood, and a mood of confusion. The reader may be left wondering why or how these children are so casually talking about such deep topics.

The upper panel represents a defiled and maimed man, with the bottom representing the two families talking. It’s obvious on the man’s face that before his death, he had seen horrors beyond most people’s comprehension. The mothers are either crying or appear shocked, while the fathers have their heads down in defeat, talking about how they knew the man. In the middle of all this grieving and remembrance, the two children, Marji and Lala, are discussing how Lala’s father survived, and Marji takes the opportunity to say an “I told you so” type response, waving a finger in the air. Even within all of this horror and grief, the children still manage to casually discuss the survival of Lala’s father in a light-hearted way. Even in the camera angle, in the last panel, everything besides the two children fade away, showing how their casual discussion is the most important thing to them, not the brutal horrors that have just occurred.

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Interpretation: The atmosphere for this panel is anxious and deflation. In this panel Lala retaliates to Marji and says that even though she (Marji) was right that her father was not on a trip, at least he is a hero. Unlike Marji’s father. This humbled Marji and made her feel small or beaten.

Authors choices: Throughout this page Marji felt a kind of confidence in the fact that she was knowledgeable in things Lala wasn't. When Lala made the statement of Marji’s father not being a hero, it hurt Marji. Lala’s statement made Marji feel small, hence Satrapi’s portrayal of her so small compared to Lala despite them being the same height. We can also see this in the anxious sweat marks around her. Marji feels embarrassed or beaten.

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Atmosphere: There is an atmosphere of sheltered curiosity. As Marji is leaving a book signing with her mother, she bluntly asks why the author’s voice was affected. Her mother quiets her questions by explaining that it was his accent. Within the author’s word bubble, as heard by Marji, his words are  exaggerated in their distinction from English. Additionally, one of the little boys in line to have his book signed looks over his shoulder, taking interest in Marji’s question. It is ironic that despite more westerners entering Iran under the Shah, Marji’s sheltered life leaves her ignorant to other cultures/accents.

Author's Choices: We know that Marji and other youth are sheltered from society because she is blissfully unaware of how languages differ. The graphic weight highlights the main characters and their discussion which develops Marji’s ignorance. The expectant expression on Marji’s face further shows her curiosity about the diversity of the people around her. Additionally, through his attentive body language, the little boy at the end of the book expresses a curiosity similar to Marji’s by eavesdropping on their conversation. The confused facial expressions of the two people next to the table, looking at the author out of the corners of their eyes with frowns on their faces, also exemplifies how the youth was sheltered from the integration of cultures within Iran.

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Description of Atmosphere:
The atmosphere in the panel is tense. After Marjane’s father calmly tells her that the love between Mehri and Hossein couldn’t happen, Marji is unsettled by the news.

Author's Choices:
In the first panel, there is a point of view from the father. It shows how he is analyzing Marji’s face to see her response to him finding out about the letters. In the second panel, the point of view shifts so we can see the father sitting on Marji’s bed calmly-through his relaxed posture-explaining to Marji why she can’t write those letters. Marji’s facial expression is highlighted in the last panel with her face taking up the majority of the panel. Her eyebrows and lips are turned down showing her anger towards the news. Even her eyes are disapproving as she is staring directly into her father’s eyes, showing that she doesn’t believe what he is saying.

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Marji is bringing the torture she’s heard about in the real world into her friend group. This is extremely disturbing to the reader because a child is bringing literal torture, one of the most horrific things mankind can do, into childrens games so casually. It’s interesting to see how torture is so normalized for them, and this can leave a lasting impact on the reader.

In the first panel Marji and her friends are grouped on what looks like a street, standing around together in what we can assume is casual play. Marji then brings up the proposition to torture the loser. This very notion is disturbing to the reader, but Marji’s friends wear smiles on her face, and the children torture eachother. In each torture slide the backrounds is faded out, bringing the torture as the forefront of the panel. While the children are not wearing smiles during their torture, they don’t appear to be in significant pain, and are fine with the notion of being tortured for losing a children’s game.

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The atmosphere is jubilant. Everyone is smiling with their hands up in the air, celebrating the day the Shah left the country. The size of the panel also represents the fact that this was a momentous occasion and that the celebration was nation-wide.

All the different patterns worn by the crowd give the reader the sense that they are actually in the crowd, as they distract and blur the individual people. The celebration was important enough to Marji that she felt it should take up the entire page. Because of this splash, the actions depicted on the page seem much more important.

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Description of Atmosphere:
The atmosphere is idyllic and oblivious. Mehri was in love with her neighbor. It got to the point where she completely forgot about her duties as a maid. Marji is in the background looking up to Mehri, hoping she’ll pay attention to her.
Authors Choices:
On the first and third panel, Mehri is focused on something invisible to the viewer. On the second panel, her back is turned and she’s focused on the neighbor next door. This shows her absentness as she’s in her own little bubble. Marji is in the background of the two panels, looking up to Mehri, seeking her attention. This adds to Mehri’s absence as she’s completely oblivious towards Marji who needs her assistance or company.

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Description of Atmosphere:
The atmosphere in these panels is shameful. Marji is ashamed to not have to work to support her family at a young age. She compares her parent’s wealth to others, disapproving of her parent’s wealth. Marji wishes she too could be poor.

Author's Choices:
In the second panel, Marji is sitting in her father’s car with her head hanging low and a solemn expression. Her downturned look is meant to show her disapproval and shame of her father’s wealth which is portrayed through the car The father on the other hand, has a completely neutral expression. He has sunglasses to hide his eyes and a mustache to cover his mouth to show his expression wasn’t meant to be analyzed as much as Marjis’. The first panel highlights why Marji is ashamed of her wealth. She pokes fun at the idea of children having to work for their parents through the use of a baby who is still wearing diapers. Children who have to work are young, but not babies as they can’t take care of themselves.

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Atmosphere: The atmosphere in the panel is awe-inspiring. Marji listens to her uncle discussing the family history looking up at him smiling as well as being heavily interested
Authors choices: In the panel Anoosh tells Marji to hold onto the family memory even through the tough times of the revolution. Marji is practically gleaming at her uncle reassuring him she will never forget her families history and later on proudly shares it

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Interpretation:
The atmosphere of this chapter is ironic and cynical. In this panel sequence Marji is told that she has to forgive, and when she does, she confronts a previously scared Ramin and tells him that she forgives him for his murderous father, however after this Ramin gets quite defensive and declares that his father is not a murderer, he just killed communists.  It’s not only ironic in the sense that Ramin defends his father's murder accusation with saying he's a killer, but also in the sense that Marji believes herself a hero when she was about to commit atrocities.

Authors Choices:
In the second panel the camera angle shows Marji and Ramin are face to face with Marji’s hand on his shoulder as she tells him she forgives him. Marji seems nonchalant while Ramin is scared as we see from the emanata of the sweat marks coming off of him and the frown on his face. In Contrast to this in the next panel he gets defensive, with his finger up in a “matter of fact” kind of way and states that his father is not a murderer, he just kills some people

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The atmosphere is venerative. Marji sees her uncle Anoosh as the answer to all her prayers, someone that she can proudly claim relation to. She associates being a hero to being in prison, and as such her dad was not one.

There is a sun behind uncle Anoosh, highlighting him. He is also notably more handsome (at least in Marji’s eyes) than her father, and well presented in a suit too. To Marji, he is her savior, a hero to look up to and brag about at school.

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Atmosphere: There is an atmosphere of distrust and rage. My interpretation on this panel is all the people dead pushing the Shah away because after everything he has done caused the death of a lot of innocent people just like in the panel, doing a lot of wrong, having people not have trust in the Shah anymore. He still goes on to say, “Together we will try to march towards democracy”. But no one believes in the Shah's words because, “after all he has done” he still expects us to stand together with him. Some people just want to hear what he's saying and then interpret what he says.

Authors Choices: The facial expressions on all the dead people are an everlasting bleed of people that died. The Shah is showing body language because he's like holding back on being kicked out of power. Also when looking at the tv the Shah can be seen giving a speech his facial expressions shows like seriousness, not taking responsibility for the crime he has committed. Graphic weight is shown around the mother and father because by looking at them you can see the different types of atmosphere and the way they are looking at the tv and the different types of shading on it.

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Atmosphere:
The atmosphere is silly, however it has an deeper atmosphere of being depressing. At face value, Mehri is having a great time, playing with Marji, swinging on a swing, and eating what appears to be what Marji doesn’t eat. And Marji seems to have a silly appearance, being wide eyed, very stiff looking, not understanding what is going on. However, the underlying tone is very depressing since Mehri is only 10, and has no clue what she is doing with a baby. It is a huge responsibility put onto her just because her parents had to sell her off. In reality, Marji is probably scared in the first two panels, and Mehri is just stealing her food because she is hungry.

Analysis:
You can understand the silliness of the surface layer atmosphere by looking at Marji’s facial expression. She constantly has a blank stare, as if she doesn’t understand anything, and given the captions, she probably didn’t, or is blinded by her appreciation of Mehri. And looking at Mehri, she is smiling, so she seems very happy with her life now. However, when looking further at Marji’s face, she is always frowning, as if her needs as a baby aren’t being met.

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There is an atmosphere of both imagined horror and childlike innocence presented in this panel. Marji attempts to imagine the gory significance of a cut up body, but instead of that she musters up an image of a dead body that almost looks like a puppet.

We know that when a body is cut up and decapitated that there’s a lot of blood, organs, a skeletal system but because Marji is so young and naive she doesn’t have a clue of the significance of gore. In this panel, the body is in its regular formation, it's chopped up almost perfectly, and there’s no traces of blood and organs laying around almost hollow like. These choices indicates Marji’s ignorance and inexperience to graphic images and murder.

The graphic weight of the dead body being surrounded by darkness emphasizes how alone Ahmadi was throughout his torturement. His facial expression is dreadful which might indicate how the painful and mental torture may have impacted him. The body language of the body shows that Ahmadi was in submission and was killed in cold blood

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This panel has a torturous, and violently belittling atmosphere. In this panel, we see Ahmadi being tortured with intent of extracting information. Following this panel, we see Marji is in fear seeing what can be made of ordinary appliances.

Author uses a big splash to emphasize what happened to their dear friend, a member of the Guerillas. He was beaten to tell where the others were, but regardless, his spirit couldn’t be broken. The author uses a sequence to show escalating events. Marji is so afraid.

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Atmosphere
There is a big splash showing the three children. They are talking about the family members and local heroes. Marji is talking about her family while the young boy sees. Makes a mysterious atmosphere with three friends walking into white. She is trying to brighten it up by talking about her family while the others say whatever.

Author choices
This returns to the Shah uprisings. Marji looks up to her relatives like her uncle and grandfather. The author shows them walking into the distance. This makes an impact on the reader by giving off ending vibes. It makes it seem deeper and highlights the mangled forest. Marji is so impressed by her family but others seem to disregard it.

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Atmosphere:
This is an atmosphere of shock and happiness for others, while the Shah is leaving his reign for good as prime minister different emotions are portrayed. Although the shah tried to find a prime minister, he failed. The people continued to burn him in effigy and tear down statues of him. The shah was upset at this but did what the people wanted. In the picture all different kinds of people are portrayed as small, tall, generals, judges, etc they are all watching him because he didn't choose them to be the next prime minister. He is in it only for himself. This panel shows hopelessness.

Authors Choices
This panel portrays 6 different people who were candidates for prime minister. The camera angle has a great effect on this panel since we see all the different characteristics of these possible candidates and why the Shah didnt pick them. They all had there flaws and he recognized them very quickly. We also see all the candidates frown, none of them are happy instead they are all upset based on the facial expressions they are giving. We can also notice that they are all very professional looking either dressed in black or in suits. The shah is portrayed as a passive-aggressive guy because he is looking straight white his eyes shut and his mouth frowning.

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FOR A FEW MONTHS, HE ACTUALLY DID TRY HE TESTED A DOZEN PRIME MINISTERS.

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Description of Atmosphere:
There is an atmosphere of insignificance. Marji’s opinion gets shut down by Layla, and her own mother yells out her own opinion. She feels sad and walks in the streets alone.
Analysis of Author's Choices:
As layla shuts down Marji’s remarks about her father, she is portrayed as way larger than Marji. With the addition of the emanata over Marji’s head, this panel shows Marji’s feeling of being insignificant. The same thing is done with her mother, but even bigger. Layla is enlarged, and the mother isn’t fully within the panel, showing how big she really is. And the result of the feeling of insignificance is Marji taking a stroll down the street, sulking. Her back is slouched, and there are two squiggly lines behind her, suggesting that she’s been dragging herself around.

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Interpretation:
This panel's atmosphere is hope and idolization. In this panel Marji is speaking of her uncle Anooshe who she dubs a hero, unlike her father. This is our first visual of Anoosh and it already portrays a positive impact upon the reader. It gives you a feeling of hopefulness.

Authors choices:
The author shows us this by illustrating Anoosh  in front of a sun-like figure that is strikingly similar to the holy light used in religion. In religion only angels or God is brought up in this light as they are symbols for hope and saviors. And the author chooses to portray anesh in that same light. A hero. He is also wells recessed and his hair is done nicely. It’s fair to assume that Anoosh is being depicted in a honorable and almost holy way.

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Atmosphere: There is an atmosphere of shock, concern, and nonchalance. The two men, Mohsen and Siamak, discuss their torture experiences somewhat light-heartedly, as if it wasn’t a significantly dark and traumatizing experience. They seemed to acknowledge and feel intrigued with how their torturers had special C.I.A training and were “real scientists.” While Mohsen and Siamak converse, the rest of the family looks upon them with shock and concern.

Author's Choices: The family is seen to have wide eyes, downturned mouths, and raised eyebrows, essentially showing their shock and concern to the conversation (about how much knowledge the torturers had regarding torture methods) between Mohsen and Siamak. In contrast, Mohsen and Siamak have more positive expressions. Mohsen is smiling during this conversation while Siamak has a finger up, conveying a matter of fact tone. They also look more relaxed as Mohsen is lounging on the couch while the family members are sitting upright and/or leaning in towards their conversation. The dark background behind the family contrasts with the white couch the two men are sitting on, essentially showing how the family feels in the dark (uninformed[?] or unknowledgeable) of the cruel situations of the two men, while those men feel freed and more positive about the situation now that it is over/passed.

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Atmosphere: There is an atmosphere of violence and horror. Simak is telling a horrifying story about Ahmadi’s torture and death, while Mohsen is looking down at Marjane, as if he is concerned that she’s hearing this. Marjane’s eyes are wide as she looks up at Simak. Ahmadi is tortured with whippings, humiliation, and burning. The panel below shows how terrified the story leaves Marjane, with her perspective of everyday items being turned dark.

Author's Choices: The family is represented very small in the corner of the panel, while the atrocities that were committed against Ahmadi are shown in a large, half-page panel, in detail. The body language of the characters is shocked and terrified. The body language of the torturer is open and savage. Ahmadi’s face is wrenched up in agony so that his eyes are just two lines in the simplistic style. There are lines around the torturer’s whip to show how fast it’s moving. The speech bubbles are spiky to show the harsh tone of the torturer’s voice as he shouts. When Ahmadi is burned with the iron, the lines on his back all go inwards towards the iron as if his skin is being pulled and pressed in. In the long panel below, Marjane has wide, horrified eyes as she peeks over her shoulder to look at the iron, as if she can’t stop herself from looking.

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The atmosphere is cold and lonely. The angle of Uncle Anoosh’s body, the direction of the wind and branches, graphic weight of the cloak against the pure white snow, and word choice all support this.

Uncle Anoosh is bent over fighting the wind, which emphasizes the fact that it's a struggle and long journey. There is a lot of synesthesia, as the bleak white snow contrasting against the dark night feels very cold.

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There is an atmosphere of alienation in these panels. Everyone is ignoring Marji, for the justified reason of their best friends being released from prison, however, Marji doesn’t seem to understand why nobody is paying attention to her. Even in the last panel where she is asking a friend if they want to play, they bluntly refuse. Marji has no speaking within the first four panels, and even in the last panel it’s mostly just background chat, distant from the conversation topic

Analysis:
You can see the isolation from the thick white lines around everyone, almost keeping them in a bubble within the void behind them. Although this should be a safe, comforting space for Marji, she still feels as if it’s unsafe and bad. In addition, Marji has a very blank face throughout these panels, with her not knowing at all what is happening, especially when an adult picks her up, talking about her when she was 3. Finally, Marji is almost never placed in the foreground, she is always in the mid-ground or background. This adds to the feeling of isolation by making her feel like she is not invited within the group of people.

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Interpretation:
The atmosphere in this panel is innocence and vulnerability. In this panel Marji and her caretaker Mehri are out together, but Mehri is playing around in her own little world, while behind her, marji needs help with her shoe, to which she ignores. Mehri takes more interest in her dress than Marji. She frills it out and smiles.

Authors choices:
Satrapi portrays this atmosphere by the way she presents Mehri. While Mehri is Marji’s caretaker she is quite young. Satrapi shows us this by illustrating Mehri with happy expression, playing with her dress and with hearts and cursive “lalala” , both things that could be found in the journals of young girls. However, we see Marji in the back, frowning on her face asking for help with her laces.

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There is a rejoicing atmosphere in this panel. They are celebrating the reunion between them and their loved ones.

All of the imprisoned people are men, and all the people rushing into hug their husbands are women. There are also a few children. Everyone is smiling. In order to emphasize the huge quantity of people in this panel, there is a bleed. This signifies just how many people were impacted by this liberation.

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There is an atmosphere of overarching anxiety, as Marjane's father exclaims that there will never be peace as long as oil can be exploited in Iran. This is then followed by a devil-like creature coiling around the perimeters of the panel.

To portray this message the author uses both a foreboding devil, and Marjane’s father having a pessimistic expression on his face. The devil represents that something bad is going to happen about the citizens' newfound ‘freedom’. The fathers expression furthers this narrative.

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Atmosphere: This panel shows anxious and depression. The author is showing us that Marji is anxious and is trying to figure out what's going on. Why can’t a lower class date an upper class person's love? But its the way the country is. In the other panel it shows depression because they are both sad because of the slap and the boy not wanting to be the maid.

Authors Choice: The facial expression of these characters is anxiety, being confused and not understanding what's going on, she wants to know but is blocking her mind from understanding. She also shows body language by putting her hands on her head looking confused and concerned by what she did. Looking at the next panel both Marji and Mehri are bellowing their eyes out because the boy didn’t want Mehri and because Marji got caught with her sending the letters because Marji is illiterate. Mehri's body language is showing that she can't do it any more, it also looks like she's about to faint and Marji is looking at her mentally telling her like… Everything will be okay, don't cry, don't stress, everything will be okay.

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The inclusion of this photo is to shock the reader into the brutality of what's occurring in margie's country. This creates a feeling of general uneasiness and fear.

This is seen by a couple choices from the author. First off is the use of negative space. By using negative space, and having the only detail being the body, it makes the action more severe, and heavy for the viewer. A second choice is how the author only chooses to write a small sentence, instead of a more drawn out one. This, similar to the negative space, makes the body stand out way more.

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Marji begins to understand why she has a maid and what that really means. She confronts her father in the panel before by asking if he was for or against social classes? Marji is obviously upset by his reaction and feels the need to cuddle up to her maid to make the tension less.

Marji is lying alongside her maid who is crying, we can tell by the squiggly line across her mouth and the tears streaming down her cheeks. Marji has her arm wrapped around her as her maid is diagonal looking like she is pulling away from it. Marji is looking at her longingly. The picture's background is overall very dark, lighting the bed up a lot. Her maid and Marji are wearing different patterns which could also be shown as an example of social class. The camera angle is shot from above, this really captures the moment between these two characters.

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Description of Atmosphere:
There is an atmosphere of confusion and distress. Marji knows that her parents participate in demonstrations against the Shah. But she realizes that there may be hypocrisy to what they say. They are privileged and they have a maid that works for them. This results in Marji’s confusion about her parent’s beliefs. She can’t decide if they are for or against social classes because they are wealthier and can afford to have a maid.

Author's Choices:
This panel shows Marji’s confusion and distress. The panel’s dark background forces the reader to just focus on Marji. She has a contrast to the overall panel. Her facial expression shows her skepticism and worry because her eyebrows are furrowed and her eyes are closed. Her hands are holding her head as another sign of confusion. She is trying to think and figure out if what her parents say actually aligns with how they behave.

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(FIRST PANEL)
Atmosphere: The atmosphere is tense, and almost feels futile. It is very clear that the shah’s heart isn’t in trying to pick a prime minister. After all, he seems to be doing it only as a last ditch effort to regain the people’s support. The issues he is finding with the potential PMs are shallow and pretty nitpicky. Nearly all are just visual, and have no clear correlation to how they’d actually act as PM.

Author's Choices: We know the shah is only doing this to seem like he's doing something because he walks dismissively past a long line of potential PMs and rejects every one. All the PMs are making the same face, almost resigned, watching the shah. None are smiling and several are frowning.
The shah’s eyes are literally closed. It’s abundantly clear that he both doesn’t want to make a choice and isn’t going to.The speech bubbles tell the reader the basis for rejection, and each one seems to just be something he found so he wouldn’t have to choose one of these men. Most are purely cosmetic. “Too thin… too short… one eyed…” Only one PM is rejected for non-visual reasons, and it’s probably because that PM, as a freemason, responds to another person. So maybe that one makes a little sense, but it’s still a stretch.

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This series of panels create an atmosphere of dreamy bliss. Marji’s family maid, Mehri is smitten over their neighbor. Mehri and the neighbor find themselves in this distant romance as they wave to each other from the window of their bedrooms and send each other letters. Their love detracts from Mehri’s daily routine in caring for Marji as she finds herself entranced in a fairytale.

Mehri flares her dress with her hands and twirls like a princess. Beside her are hearts and “la la’s” which indicates that her mind is clearly elsewhere, as Marji is stooped next to her, asking Mehri to tie her shoe. Marji is in the background as Mehri is shown in the foreground to emphasize her daze

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This panel creates an atmosphere of pure elation. Upon the news of the Shah’s exile, the people of Iran are just bursting with joy. The moment is euphoric as their country is finally freed from the shackles of the evil Shah.

The people have huge grins across their faces. The panel occupies the entire page to convey the significance of this success. The people overlap each other which is contrary to the way Satrapi has depicted Militia for example in straight and uniformed lines. The collage of patterns add to the visual pleasure of the image and intensify the elation.

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This panel creates an atmosphere of humiliation and violence. Amadi, who is in the custody of Iranian prison, is seen in an insurmountable amount of pain while being lashed and scorned with an iron to make him cough up the names of members in his coalition.

The author has a backsplash of white so that the black is really punchy. The focal part of the panel is Ahmadi who suffers continuous torcher. His back is hatched to represent his scarring. Even under such intense conditions, Ahmadi remains faithful to his fellow Guerilla group and winces and groans-but does NOT tell.

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This panel creates an atmosphere of absolute idealization. Marji perceives her uncle Anoosh as nothing less of a god for his time in prison and rebellion against the Shah. She marvels at his journey and is proud to claim it as hers.

Uncle Anoosh is in the middle of an aura with rays of light spewing from behind him. The play on light and dark is very venerative and saintly. The depiction matches precisely Marji’s image of her uncle in all of his rebellious glory.

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Atmosphere: There is an atmosphere of oppression and sadness. In all three panels, we are shown different examples of child labor. Carry heavy packages on his back, we see a hunched over, tired, and miserable looking boy. We also see a young girl weaving big carpets and a young boy in diapers washing a man’s car. These kids come from a children’s book Marji is reading where the author discusses the unfairness of social classes in Iran during the revolution.

Author's choices: The author uses graphic weight to highlight the twisted reality of many poor kids during the Iranian Revolution. We can see that the backgrounds of the first and second panel are very dark, indicating that this example isn’t a happy memory in Marji’s life. The facial expression and body language of the first two kids show that they are miserable and overworked as a result of having to work like adults. The attire of the last kid (wearing diapers) helps us understand how unfair it is that kids from poor families have to work just because their family needs more income.

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Atmosphere: There is an ominous atmosphere now that the Shah has been kicked out of power. Even though Marji’s family is elated that the Shah is gone, the devil surrounding them hasn’t left and seems to be ready to torment Marji’s family (specifically her mother). This panel foreshadows that something terrible will happen in the future.

Author's choices: The author uses graphic weight to emphasize that the worries of Marji’s family are not yet over. Marji’s facial expression seems to be confused and upset because she doesn’t want to “enjoy the freedom” her parents are talking about because wants peace in Iran to be forever, not just for a while.

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Atmosphere: There is an atmosphere of cruelty and violence. This large panel shows a man being tortured by a prison guard in different ways. In all of the three drawings, the man is expressing excruciating pain as the guard verbally defames the man for being a protester against the government. Considering these images are coming from Marji’s imagination, it seems like Marji has lost some of her innocence from the revolution.

Author's choices: The author uses splash to highlight the cruelty of the Iranian government. Emanata is also used by the author to express the prison guard's rage towards “government traitors” and the prisoner's pain as he is being mistreated. The large, spikey text bubbles add to the prison guards anger. The black and white contrast between the prison guard and the prisoner gives off a good vs evil message that the author is trying to convey (the prisoner is white while the prison guard is in black).

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Atmosphere: There is an atmosphere of utmost respect and admiration. This panel is a representation of the way Marji sees her uncle after knowing that he was persecuted for supporting and advocating for the liberation of Iran. The uncle has a confident/ nonchalant face and his suit adds on to his aura of “professional and heroic”.

Author's Choices: The author uses synesthesia to highlight Anoosh and present him as a special figure in Marji’s life. The author uses graphic weight to further emphasize the admiration with which Marji sees her uncle. Using synesthesia and graphic weight presents Anoosh like a deity/ someone deserving of praise. Anoosh’s facial expression is nonchalant making him seem powerful.