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This panel outlines and puts into perspective how harsh the Black Friday massacre was, and gives a visual representation of the innocent civilians that were killed while protesting. This chapter shows all of the massacres that occurred during the reign of the Shah, which leads to the departure of the Shah, which is the main subject of this chapter. The panel shows tonas of bodies spread horizontally across the panel, Satrapi  does this on purpose to show alternation and arabesque. The alternation clearly shows the violence that was displayed on black friday.

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This panel outlines and puts into perspective how harsh the Black Friday massacre was, and gives a visual representation of the innocent civilians that were killed while protesting. This chapter shows all of the massacres that occurred during the reign of the Shah, which leads to the departure of the Shah, which is the main subject of this chapter. The panel shows tonas of bodies spread horizontally across the panel, Satrapi  does this on purpose to show alternation and arabesque. The alternation clearly shows the violence that was displayed on black friday.

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This panel depicts Marji and her family in the days after the revolution against the Shah, which was the context of the previous chapters. The panel is set in the context of the Shah's overturned which was something that, what seemed to be, the whole country was fighting for. The author frames the panel with a snake or serpent, an almost devilish creature to convey irony and foreshadow the events of the upcoming chapters and the rest of the novel. The literary techniques of irony and foreshadowing can further be seen in the text bubble of Marji's mother when she expresses relief that "the devil" is gone. Readers can then predict that as the story progresses "the devil" will not leave Marji and her family and will lurk with them, unseen and unnoticed as it is in this panel. Satrapi uses graphic weight in the shadows to convey fear and potential impending doom. The graphic weight can be seen in the shadows specifically as well as in the devilish monster creature. Satrapi also uses positive and negative space to help create a sense of false hope, the characters in the positive space are relieved and blissfully ignorant of what is happening in the negative space. Satrapi depicts Marji in the middle of this space and looking through and directly at the readers, while her parents have their eyes shut as if they avoiding medusa's venomous snakes. This creates the illusion that she knows something is happening. The visual and literary techniques used in this panel aid to the reader's understanding of the upcoming events of the novel and the false hope or ignorant hope that Marji's family had at the time.

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This panel takes place during the war and represents thousands of young kids dying on the minefields. Around their neck is a key, which they were given earlier, and they were told it was the key to paradise, the key to a better life. The caption alongside the picture makes the reader empathize with the children because they were naive and young and had their life taken away from them. The key around their neck, while they're dying, makes the audience see that they went with the belief of freedom and of a better life, showing their naivety, and the reader empathizes with that. The dynamic lines in this panel are sharp and are going through the bodies of the children. When the reader sees this, it creates a feeling of horror and fear, and the fact that these are children makes it far more effective. The bodies are also shaded black, and this could be showing the perspective of Marji, and the fact that she showed no faces and only shadows demonstrate that she is choosing to block out the harshness of reality, and she does this in many other panels throughout the book as well. Through the use of shading, dynamic lines, and body positioning, Satrapi conveys an emotion of fear and horror in the reader.

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This panel follows Marji's realization that she has lost her Uncle Anoosh, a key parental figure in her life, which then causes her faith in God to dwindle. Satrapi uses this panel to depict how young Marjane felt all alone now that she felt that she could no longer rely on God, because with all the power that he has, he couldn't save her Uncle. This is a bimodal panel where the author depicts Marji's loss of bearing and understanding using positive space surrounding Marji, leaving her with nothing to ground her and nothing to look to for support. On top of all of this, the diegetic text is someone telling Marji that their being bombed. This creates unrest and reminds the reader that despite the loss Marji just suffered, she won't have time to get her bearings again because there is a war going on. Working with the positive space is a lot of graphic weight that depicts the darkness that Marji has found herself in now that she has lost both her uncle and her faith in God. Satrapi also draws her character using dynamic lines to depict her floating throughout the darkness. Through these visual techniques, Satrapi demonstrates that among the chaos of war in Iran, she was just a girl learning to cope with the instability of living through a war.

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This panel outlines the citizens of Iran, who were victims of the burning down of a local cinema, which claimed the lives of 400 people. Satrapi communicates to audiences the horror of the massacre by visualizing the burning people as flames with distorted faces. This representation also reminds readers that the story is told through the perspective of a child, therefore there are some naïve undertones to her description. This macabre approach to describing the situation reduces the abject horror of it. The tone of the panel is scary, the author uses positive and negative space, combined with graphic weight to accentuate the terror the people in it are feeling.

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Sarah Duan

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This panel is showing us about the war and the violence of it. Satrapi is talking about she thinks the war could have been avoided and how a million people dying could have been avoided. The panel shows all the people moving around, and the large quantity of people and the different poses and actions gives this panel movement and gives it a chaotic feeling. The clouds look like smoke on a battlefield, but also like a daydreaming cloud as if Satrapi is imagining it herself and we are witnessing it. Satrapi is also leaving in the corner, she is exiting the daydream through the door like she doesn't want anything to do with it, she stated the facts and her opinion and then leaves. The harsh lines in triangles give the panel more movement, they give the look and feeling of explosions through the movement and hatching shading. The movement and chaos shows the reader that it was a very messy war and brutal. We can see the people in the smoke and in front of the smoke, this seems similar to cartoons when characters are fighting and it created a cloud around them while they beat each other up, it gives the audience something to relate it to with a sense of familiarity, especially if the audience doesn't know a lot about the war, something we don't know a lot about, it allows us to make connections. The style of the book makes serious scenes like this less scary to see, it's a big contrast to the graphic novel Maus which is much more detailed and creepy looking, this panel shows the brutality without being too gory. Because it is only one panel and it takes up the whole page, it makes it more dramatic and allows the artist to show emotion and movement better with more detail.

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-maryam

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This panel outlines the scene where Ahmadi was cut into pieces and killed after numerous accounts of corporal punishment. Satrapi portrays the body as a very clean corpse which communicates to the audience how Young Marjane understood the death of Ahmadi. This representation of 'death' reminds the audience that the story is told through a child's point of view. The tone of this panel is simple yet scary, and has a lot of graphic weight to present the horror in the scene.