The late Ed Koch once said that “stereotypes lose their power when it turns out that the world is more complex than the stereotype would suggest. When we learn that individuals don't fit the stereotype of the group, then it begins to break down." In Marjane Satrapi's Persepolis, Satrapi recounts her childhood experiences in Iran through words and images as she searches for her true identity amidst the chaos that surrounds her. However, beyond this journey of self-discovery, Satrapi exposes a critical dialogue between Iran and the West that it attempts to resolve through its own struggles. Through Satrapi's stylistic decisions, Persepolis develops a personal connection between the author and the reader and clarifies our misconceptions about the Middle East, providing Western readers with a greater understanding of the Iranian conflict. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Persepolis would not have the same impact without Satrapi's development of an individual connection with her readers, which she creates through her graphic depiction of violence in the world of video games. Middle East. Throughout the novel, Satrapi juxtaposes illustrations of torture with panels of her family to highlight the close proximity of the violence. For example, he places a panel of teenage boys detonating mines with keys around their necks right next to a panel showing her going to her first party, demonstrating that violence is always nearby as a looming threat to her family's safety - and creating a sense of unease that Western readers may fail to grasp when considering the conflict. Finally, the threat fully manifests itself at the novel's climax, when Satrapi is confronted by the women's branch of the Revolutionary Guards for wearing her "decadent" American clothes and is threatened with being detained "at the Committee... [where] anything could happen to me” (Satrapi 134). Through her increasingly desperate pleas for mercy, highlighted by the change in her speech bubbles and emotional expressions, Satrapi suggests that freedom of expression is dangerous in a country where violence arises out of of the perception of cultural dissent. Such dissent is a right taken for granted in the West, and as such readers gain a clearer picture of the disconnect between modern and fundamentalist perspectives that characterizes Satrapi's lifestyle It's Marjane, whose internal struggle with all aspects of her life leads to a cognitive dissonance that reflects the overall confusion of the time period. At the heart of the story, Satrapi's family is modern, from the material objects they consume and appreciate (like denim jackets) to their social beliefs (like gender equality). However, as she herself admits, “deep down I was very religious” (6), presenting an interesting dichotomy of beliefs depicted 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 image presents an easily understandable depiction of his deeply personal connection to his religion, and as a result, readers empathize with his struggle to find a moderate balance between his secular and spiritual beliefs. Satrapi also struggles in his political views, as he is shaped by the people around him. As Satrapi herself states, she wants to be peaceful like the philosophers of Zarathustra, but she also tries to justify theIran-Iraq war and other questionable altercations with the superficial knowledge he possesses at his age. However, when confronted and corrected by her father, whose speech bubble menacingly dominates nearly half a panel above Marjane, she shouts out loud that “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 with her confusion while further recognizing the manipulation and unrest present in Iran. It is precisely because of this confusion that Satrapi decides to convey her story in graphic novel style, helping readers understand a completely complex topic. Social problems also present a struggle for Marjane, as she tries to articulate her beliefs despite the class hierarchy present. in Iran that places lower class people at a serious disadvantage. Satrapi's portrayal of the family maid Mehri and her love for Hossein, for example, demonstrate the strict prohibition on movement between social classes that is at odds with her liberal upbringing. Readers empathize with her heartbreak after Satrapi effectively encapsulates Mehri as a religious figure in a few humorous panels, so that when Marjane realizes the outcome, she too cannot contain her anger and sadness. Indeed, in response to her father's exasperations, Marjane asks, "Is it her fault that she was born where she was born?" (37). Western society takes social mobility for granted, and as a result, Satrapi offers readers a glimpse into the struggle people like Mehri face in Iran, even beyond the violence. Satrapi suggests that people want to believe in what is right; however, society can sometimes dictate the opposite of righteousness simply because injustice is so deeply rooted in society itself. As a result, tensions result in a struggle for lasting change. Beyond the personal connection between Satrapi and the reader, Persepolis serves as a mediator of two different sociopolitical climates, providing a way to deconstruct Western readers' misconceptions about Iran. Reflecting the play's audience, the West generally was hostile describing the political upheavals as characteristic of Iran; located in the Middle East, some Iranians are seen as misogynistic and fanatical, while others are given little agency in the revolution. However, Satrapi shows that many men are neither fanatical nor misogynistic and are instead loving and compassionate. Marjane's father in particular has proven himself to be a beacon of compassion, demonstrating courageous selflessness as he documents the revolution through his photography 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 the stereotype of lazy Iranian citizens who have no political power and respect the rules of an oppressive regime. However, in reality, there were many who fought against the fundamentalist Islamic government for what they believed was right, and Satrapi uses this opportunity to show the real struggle for justice and empowerment that pervades the novel. Politically, Marjane meets many individuals who have risked their lives for their belief in an emancipated society; for example, Marjane describes in painful detail the numerous tortures Siamak's friend Ahmadi endures in the political prison, even as he is torn to pieces because of his unwavering commitment to his comrades. Female empowerment is also demonstrated through Marjane's mother, who risked her life for the right to choose to.