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Here, we can see the division between Marjane, her friends and Ramin start to widen as they learnt about Ramin's father being in the Savak. The narration at the top of the panel evokes a sense of foreboding as a sense of paranoia grows within the society of Iran: the conflict between the perspectives of the children might lead to them turning on each other. This suggests that violence and conflict will continue to seep into the next generation of Iranians.

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The sense of foreboding is created through the line on top, where it states that"The battle was over for our parents but not for us.", foreshadowing a feeling of uneasiness over what could be part of the battle for them in the future, where there seemingly is an expectation there something bad or worse could happen.

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The looks on the faces of the people following the Shah are all the exact same, and look quite pale and bony, creating a sense of foreboding and uneasiness. The Shah still looks quite angry and upset at this overthrowing, and shows how he is desperately clinging onto power but it is not working out. We can see this through his facial expression, and the position of his feet; he is being pushed out instead of walking himself. The people are getting what they want; they are overthrowing the Shah, yet no one in this panel seem happy pushing out the Shah. This could possibly be foreshadowing the eventual war after the Islamic Revolution.

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Despite the overthrow of the Shah's regime, there is still a visible conflict between the revolutionists and Shah's supporters. A sense of physical violence is also incorporated through the nails; the weapon used by Marji and her friends to attack Ramin. The nail can also be shown as a symbol of war, therefore creating a sense of foreboding.

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Marjane's father declares that 'as long as there is oil in the middle east, we will never have peace.' This declaration serves as an ominous prediction that the exile of the Shah will not result in long term peace, and that the middle east is cursed forever with conflict due to oil. This foreshadows that instability and conflict will still rise. The sense of foreboding is exacerbated by the heavy graphic weight and the small shadow created my Marjane's father, which contributes to the idea of darkness looming over them.

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On page 43 panel 7, a sense of foreboding is created through firstly, the image of a serpent surrounding them. This serpent directly links to the "devil" that the mother talks about. However, as the Shah is now gone, the mother speaks that the "devil" has left, however, this serpent still lingers around and surrounds the panel, suggesting that the devil is still out there, and is all around them. This could mean that although the Shah himself is gone, his influence and those that believe in him and his ideologies are still all around them. The mother is also facing away from the serpent while she says that the "Devil" is gone, suggesting that she and others are oblivious to the evil still around them.

The father also talks about freedom, but the serpent surrounds the panel, almost like a trap or a border around them, which suggests that they do not really have much freedom at all as the "devil" still contains and controls them.

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in the panel, Marji's parents refer to the Shah as the devil. While the conversation is about how he has been exiled and that the country is free from his control, the three of them are surrounded by a devil/ominous looking creature that is staring at them while they talk about the situation. This creates a sense of foreboding as it alludes to the idea that the future may get worse, or worse things may come, or that the Shah's impact on the country is inescapable

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The shadows in this panel are extremely weighted which makes the scene look more dramatic and emphasised. An ominous feeling is created in this panel because of the contrast from Marjanes father telling them that they have freedom yet there being a dark creature creating a border around the panel. Also the mother telling them that the devil has left and the creature around the panel has horns. Both these contradictions give the feeling that something is not right and what they are saying is actually false

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The image of a serpent outlines the frame of this panel. It shows how there is something ominous lurking in the shadows and how it is coming to haunt them. Marjane's mother says that "the devil has left" but it is clear how the devil is still around, hence creating a sense of foreboding

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the graphic weight shifts slightly towards the black as the shadows on the dad's face become more prominent. This is different from the simplified art syle of the whole book which does not usually put shadows on characters' faces and only do that when a dramatic emotion is being expresses. like on the page (25)

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The boarder of the frame is closing them in (trapping). The 'devil' is looming over her mother and foreshadowing her being a victim. She is the only one sitting in the chair that can be a symbol of confinement, despite Marjane's dad talking about freedom.

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This panel is bordered by a creature which is similar to a serpent/snake/dragon, suggesting that Marjane's family and the other people in Iran are still under the control of the devil, which is the Shah. The fact that the creature visually looks similar to a snake highlights the cunning and sly nature of the Shah, exemplifying that although the Shah has been overthrown, there is still a sense of evil present in the novel.

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The extreme close up shot used here allows readers to decipher what Marjane's father may be feeling as more attention is drawn towards his facial expressions. Here, we can tell based off his downturned eyes and mouth, that he could be feeling apprehension.

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Here, we can see that the diversion in Marjane, her friends and Ramin. This panel illustrates how the kids are eventually going to turn on each other due to different perspectives they have, which creates a sense of paranoia in Iran's society.

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pg 42: The day [the Shah] left, the country had the biggest celebration in history.

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From a more mathematical standpoint, the highs and lows will always even out, or "regress to the mean". This celebration abruptly skyrocketed to a pinnacle of elation, leaving readers wondering if anything was amiss or if their guard could have been let down, seeing as which the Shah leaving had not solved all their problems. This is idea of vulnerability is emphasised by the closed eyes when smiling, physically oblivious to their surroundings. Furthermore, the dark background does not quite sit right with the supposed bright and lively atmosphere.