"Iconic Abstraction" In Persepolis

I noticed a couple of strange abstract ideas throughout Marjane Satrapi's Persepolis. One of them was on Page 6—the frame with the iconic prophets in it. I might be able to guess all of the prophets if I took the time, but one of them is very obvious to most people: Jesus (Satrapi 6). It's such a simple image; how might people guess what it's supposed to be? It's an icon. It works on the concept Scott McCloud calls "amplification through simplification" (McCloud 30) in Understanding Comics: The Invisible Art. The little Jesus image "[focuses] on specific details" (McCloud 30)—details that imply this is Jesus, such as the crown of thorns, long hair, beard, and the attire that is seen in many crucifixion portraits of Jesus (Satrapi 6). This concept helped me to see that image as being Jesus, but it does not necessarily work for everybody. It's hard to believe, being in a culture that has been heavily influenced by Christianity, that some people might not know the details that allow someone to understand the image is supposed to be Jesus. But people of other cultures might find it strange that I can't point out the other prophets in the frame with Jesus. Icons have to be iconic, meaning they have to be apparent to the culture to be significant within said culture. But individual readers have the ability to transcend their own cultures by reading about or learning about other cultures.

On Page 26 of Persepolis, there is an abstract thought coming from the boy on the far right in the bottom, right frame (Satrapi 26). A skull has meaning. But I don't really know how to interpret this abstract idea. This is an example of how abstract icons can be simple, yet ineffective—or at least, less effective. But McCloud does say, "Icons Demand our participation to make them work," and "There is no life [in them] except that which you give to it" (McCloud 59). So, when an icon is not obvious, the reader has to interpret it for his/herself. Which can complicate the author's intention for using said icon. The first thing I thought was that the boy was contemplating killing his sister, which could be true, but I would have to keep reading to find out. 

A great abstract image was on Page 43 in the bottom, left frame. It shows the irony of the current situation the characters are in, and it foreshadows what will happen later. The father states that they have "new freedom," and the mom says, "Now that the Devil has left!" (Satrapi 43). But there is a devilish dragon/snake figure outlining the frame (Satrapi 43). The Devil is not supposed to be literally and visibly in the room with them, but it symbolizes the reality of the situation. Satrapi is showing, by foreshadowing and using irony, that the Shah's departure was not the end of Iran's troubles—the Devil was not truly gone. This image conveys a complex, abstract image, using iconic imagery. She could have used words to convey that message, but it would require a larger frame and would be too easy—the abstract image asks readers to read more actively.

Another concept from McCloud's Understanding Comics is how the reader can "mask themselves in a character" (McCloud 43). I can definitely put myself in the place of the little girl—Marji. I tried to think how she was thinking while I was reading. She was very naive (as most children are). Her desire to have a hero in the family and to learn about adult things is a relatable concept. But I know that there is still a separation between the character and myself. For one, she's a girl and I'm not, but that's not even the real separation. I'm no longer a child. I can kind of think back to how I might have thought of the world as a kid, but I can not 100% say that I still think the same way I used to or that I remember what it was like to think like I used to. All I can do is try to be understanding of what the main character was going through in her story and try to conceptualize her feelings and thought processes. 

I'm certain that the art of "comic book" story-telling has a different approach to how we can conceptualize abstract ideas than the art of written prose, but they share many of the same flaws of writing, too. Ultimately, a reader's culture affects how he/she conceptualizes texts, and icons are no exception of cultural influence. But simple images certainly have ability—the ability to have meaning—the ability to attempt a more concrete understanding of abstract ideas.

Works Cited:

• McCloud, Scott. “The Vocabulary of Comics.” In Understanding Comics: The Invisible Art. New York:Harper Collins, 1994. 24-45.
• Satrapi, Marjane. Persepolis: The Story of a Childhood. New York: Pantheon, 2003.