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Whilst they are set in vastly different contexts, Persepolis, by Marjane Satrapi, and To Kill
the individual and greater society. To exemplify this conflict, they create specific types of
characters that interact with their public worlds in antagonistic ways. The writers explore
the conflict between personal and public worlds through the creation of intelligent and
educated protagonists and then through their rebellious reactions when faced with a clash
of opinions.
Many of the characters central to Persepolis and To Kill A Mockingbird are portrayed by
the authors as intelligent and well-read people, causing their values to come into conflict
with those of members of broader society. Early in Persepolis, the author uses
juxtaposition to show the positive effects that books and knowledge have on Marji. She
sits in black clothing against a black background, with books being the only source of
white in the panel. This represents that the information gained from reading allows her
to form opinions against the dictatorship, the contrast of those beliefs made obvious
by the juxtaposition of colours. It also conveys the idea that intelligence and
education should be valued above the oppressive beliefs she lives under, and, moreover,
are a source of happiness. However, the formulation of Marji’s contrarian ideals are often
not connected to her parents. When Marji questions her father’s adherence to Marxist
ideology, the use of an eye-level shot allows the reader to connect to the emotional turmoil
she feels in realising that her family’s values will occasionally act in conflict with her own.
It also establishes her as a character that is strongly convicted about the issues she cares
about, creating a clash of personal and public worlds by showing that people often have
flexible views dependent on what benefits them. Finally, it reminds the reader that Marji’s
Similarly, in To Kill A Mockingbird, the thoughtful ideals of the Finch family often clash
with those of the residents of Maycomb. During the chapters that detail Tom Robertson’s
trial, the author uses Scout’s perspective to contrast her views against society. Scout offers
not only an impartial account of the trial, but commentary from both herself and Jem. In
doing this, the author portrays a character who understands the decision that should
be made and the unjust verdict that the jury, representative of the common people, will
declare. It also allows the reader to feel a sense of disappointment; as Scout shows that
her and Jem’s idealism is futile. However, unlike Marji, Scout’s beliefs are
compounded by those of Atticus and Jem. The metaphor, “I tried to climb into Jem’s skin
and walk around in it,” is a direct reference to wisdom that Atticus has imparted on Scout.
It exemplifies the Finch family’s empathetic views and education as items that are central
to their identity and suggests that their fight against society is one that is
mistakes, which, compared to the obstinacy of rest of the town, enhances the conflict
between views. The choice of intelligent main characters allows the authors to create a
clash of internal and external worlds, though the creation and support of these
The authors also use rebellion as a key reaction of the characters of both books to
create contrast between mutually exclusive views and to show the extent of that conflict.
This is shown in To Kill A Mockingbird when Atticus is confronted by men outside Tom
Robinson’s cell. The author contrasts his formal style of speaking with the slang used by
Bob Ewell. It represents key differences in the way that the people of Maycomb and
Atticus think and act on a seemingly inconsequential level. This also demonstrates his
courage in a dangerous situation, because it shows his refusal to shift from his
mannerisms even on the surface. This is symbolic of his tightly held core values and is
prejudiced society. However, not all characters react with courage. When told that her
father must not read to her anymore, Scout pleads with him, saying, “Please don’t send
me back, please sir.” Unlike Atticus’ conflict, Scout’s is not life-threatening nor
particularly large, though she reacts with more unjustified terror than him. This is one of
the few times that a desire to change to better fit the mould of an ideal citizen is discussed
and is indicative of the control that society has over her at a young age.
The characterisation of Scout as terrified of authority exaggerates the control that society
Likewise, the characters in Persepolis also rebel against the restrictions placed upon
them. The author’s choice of a mid shot in a panel depicting Marji’s mum’s fear of the
repercussions of her actions conveys the terror of a regime where fighting back will yield
more than the social isolation of Maycomb. Not only does it make her look small, due
to the large amount of space above her head, but it also draws the readers’ attention back
to the reason that she is scared in the first place; she spoke out. It creates discord by
showing the fear that is created by holding a view that differs even slightly than those
protagonist rebels from a young age, even with discouragement from her parents.
As Marji buys tapes from a shady character, the author uses unconventional drawing of
the people involved to represent the danger of the act they are committing.
Both Marji and the man she buys tapes from are given two heads, which gives them both
culpability for the crime being committed, but also represents a harsh truth to the reader,
that, due to their clashing beliefs, to the upstanding citizens of the regime, the intelligent
teenage girl is seen as immoral as the man who makes his living selling tapes illegally on
the street. The rebellious nature of the protagonists and other characters causes that
inevitable clash of personal and public worlds to come across harsher than they would
otherwise.
Throughout both books the readers are reminded of the startlingly large clashes between
the characters’ views and those of society by the nuanced characterisation presented to
them. Satrapi and Lee both create characters that value free thought and logic, and who