The late Ed Koch once said that "stereotypes lose their power when the world turns out to be more complex than we they suggest. When we learn that individuals do not fit the group stereotype, the stereotype begins to break down. In Persepolis by Marjane Satrapi, Satrapi recounts her childhood experiences in Iran through words and images as she searches for her true identity amidst the chaos around her. Yet beyond this journey of self-discovery, Satrapi exposes a critical dialogue between Iran and the West that she attempts to resolve through her own struggles. Through Satrapi's stylistic decisions, Persepolis develops a personal connection between author and reader and clarifies our misconceptions about the Middle East, providing Western readers with a better understanding of the Iranian conflict. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”?Get the original essayPersepolis would not be as impactful without Satrapi's development of a one-on-one connection with her readers, which she creates through its graphic representation of violence in the world. Middle East. Throughout the novel, Satrapi juxtaposes illustrations of torture with panels of her family to emphasize the proximity of the violence. For example, she places a panel of mine-triggering teenagers with keys around their necks right next to a panel that shows her going to her first party, demonstrating that violence is always nearby as an imminent threat to security of his family -- and creating a sense of unease that Western readers might not understand when examining the conflict. Ultimately, the threat fully manifests itself at the novel's climax, when Satrapi is confronted by the female branch of the Revolutionary Guards for wearing her "decadent" American items and is threatened with detention "at the Committee…[ where] anything could happen to me” (Satrapi 134). Through her increasingly desperate pleas for mercy, underscored by the changing of her speech bubbles and emotive expressions, Satrapi suggests that freedom of expression is dangerous in a country where violence arises due to perceived dissent. cultural. Such dissent is a taken-for-granted right in the West, and so readers get a clearer sense of the detachment between modern and fundamentalist perspectives that characterizes Satrapi's lifestyle. In the midst of this brutal setting is Marjane, whose internal struggle with every aspect of her life leads to a cognitive dissonance that reflects the general confusion of the times. At the very heart of the story, Satrapi's family is modern, from the material objects they consume and enjoy (like denim jackets) to their social beliefs (such as gender equality). Yet, as she herself admits, “deep down I was very religious” (6), presenting an interesting dichotomy of beliefs that is represented through a divided illustration; half of her is surrounded by symbols of technology and industry, while the other half features her surrounded by a veil and surrounded by calligraphy. This visual presents an easily understandable depiction of his deeply personal connection to his religion and, as a result, readers sympathize with his struggle to find a moderate balance between his secular and spiritual beliefs. Satrapi even has difficulty in his political views, since it is shaped by the people around him. As Satrapi herself says, she wants to be as peaceful as Zarathustra's philosophers are, but she also tries to justify warIran-Iraq and other questionable altercations with the superficial knowledge she possesses at her age. However, when confronted and corrected by her father, whose speech bubble menacingly dominates nearly half of a panel above Marjane, she cries out loud: "It's not my fault ! It's TV! (62). Like Marjane, children are often shaped by the political views of their parents and the media, so readers immediately connect to her confusion while further recognizing the manipulation and unrest present in Iran. It is because of this confusion that Satrapi decides to tell her story in the style of a graphic novel, helping readers understand a very complex subject. Social issues are also a struggle for Marjane, who tries to express her beliefs despite the class hierarchy present. in Iran, which seriously disadvantages people belonging to the lower classes. Satrapi's portrait of Mehri, her family's servant, and her love for Hossein, for example, demonstrate the strict prohibition of movement between social classes, which is at odds with her liberal upbringing. Readers sympathize with her grief after Satrapi effectively summarizes Mehri as a sororal figure in a few humorous panels, so that when Marjane realizes the outcome, even she cannot contain her anger and sadness. Indeed, faced with her father's exasperation, Marjane asks: “Is it her fault if she was born where she was born? (37). Western society takes social mobility for granted, and as a result, Satrapi gives her readers insight into the struggle people like Mehri face in Iran, beyond even the violence. Satrapi suggests that people want to believe in what is right; However, society can sometimes dictate the opposite of justice simply because injustice is so deeply rooted in society itself. As a result, tensions flare and turn into a fight for lasting change. Beyond the personal connection between Satrapi and the reader, Persepolis mediates two different socio-political climates, providing a means of deconstructing Western readers' misconceptions about Iran. Like the work's intended audience, the West in general has been hostile, describing the political upheavals as characteristic of Iran; Located in the Middle East, some Iranians are seen as misogynistic and bigoted, while others have little influence in the revolution. However, Satrapi shows that many men are neither bigots nor misogynists, but rather loving and compassionate. Marjane's father in particular proves to be a beacon of compassion, displaying courageous selflessness as he documents the revolution through his photographs while placing himself in dangerous situations. Depicted in a borderless panel, Marjane's father and his photos take up more than half the page to visually emphasize the small but important role he plays in documenting the revolution. In the West, there is also a stereotype that Iranian citizens are lazy, lacking in political action, and abiding by the rules of an oppressive regime. However, in reality, many have fought against the fundamentalist Islamic government for what they believe is right, and Satrapi uses this opportunity to show the real fight for justice and empowerment that permeates the novel. On the political level, Marjane meets many people who have risked their lives for their belief in an autonomous society; for example, Marjane describes in painful detail the numerous tortures suffered by the friend of.