Throughout Chapters 14-17, Jon Krakauer tends to walk in Chris’s footsteps, trying to mimic Chris’s difficult journey. I think the approach of alternating between Chris’s journey and his is very successful in that the audience is able to better visualize Chris’s journey. For instance, Krakauer writes about his relationship with his father and the striking similarities that this relationship has with Chris’s insufficient relationship with his father, Walt. This instance helps the reader understand that Chris was not the only individual who was deeply afflicted by his father’s action and decided to throw his relationship with his father in the waste bin. Rather, by describing Krakaeur’s own experiences as a youth, he wishes his readers to understand
Howard Zinn argues throughout his book that one of the main purposes of the state is to establish long term stability of the system. In the United States during the late 1800 's and early 1900 's, there was a rapid incline in industrialization. This meant more factories were popping up trying to take advantage of the time and pursue their American dream in the realm of free enterprise. In this pursuit however businesses rarely gave attention to the needs of the workers. The end goal was to make capital to invest in capital, so anywhere money could be saved or earned businesses took full advantage of it.
If the first page is intriguing, one will continue to read and the novel in a way lives on, but if it fails to make the reader want more it will be closed and in a way it’s the end of the journey. With so much pressure put on the first page, it must convey an extraordinarily
In the essay, In Defense of Masks, Kenneth Gergen’s view on a identity (mask) is that people do not develop a single identity. He explains how people’s masks modify in order to gain approval from a specific group of people. Individuals use masks to create a false identity. In over time, those masks become reality. Gergen sees an identity as a way to develop a unique mask.
The memories Small relives on the page are conveyed with art as the primary medium, using writing as a guide throughout the graphic novel. Using
The image on page 39 is the picture I am choosing to journal over. The wolf has triangle red eyes, sharp triangle teeth, a slithering red tongue. The image shows the wolf creeping around a tree and spying on Little Red Triangle; the background is a light purple. I chose this picture because I believe it shows the reason that Molly Bang was trying to make throughout the book. On the page before this it shows the same image, however, the background is white.
Connell gives the readers a lot more information that what is actually on the pages, if
This can be considered to be remarkable as Spiegelman makes use of an animal allegory: the characters have animal heads and a human body. But the human body isn’t the only human characteristic: they also speak like human beings, behave like human beings, feel like human beings and think as human beings. Despite the animal heads the characters do not identify themselves as animals. For example, the girlfriend of the main character
Spiegelman employs this genre convention to represent the domino effects that led his father into such a traumatic period in his life. Early in the memoir, a scene is shown that depicts a conversation between Spiegelman and his father. The page begins with Art requesting his father’s permission to illustrate a novel about him. Stating “I still want to draw that book about you” (Spiegelman, 1996, p.12). This introduces the audience to Vladek, establishing him as a Jewish prisoner of War.
Spiegelman also address the issue of post memory, and how it effected his family and his life. He also was very truthful in the way he told the story, it seemed as though he did not leave a single piece out. All in all, they way Spiegelman captures the tone of the story, along with its writing style successfully tells his father’s
In his graphic novel, Maus, Spiegelman makes his father’s exclusion from
The uniqueness of this pages is Mariko’s words or lack of words illustrated by Jillian to create a visual narrative. This is a void of space with stark blackness and the white bubble with the words, “That was totally stupid” (133). The words jump out along with the light coming out of the school’s door and you see Skim and Katie’s gray shadow against the white snow. This illustration allows the viewer to see into the darkness of the night and of the frustration of the two girls. Jillian could have left the two-page spread all black, but on the left side, she adds three panels.
Because of this unique characteristic, the audience can connect with characters on a more personal level, witnessing the development of characters throughout the story, or rather, a coming of age. Backderf, having experienced this coming of age with the serial killer, knows Jeffrey Dahmer was more than a monster; he was a shy, disturbed young man whose thoughts coerced him into madness. As a result, Backderf conveys the timeline of Dahmer’s downfall through panels and subtle narration that allow the audience to feel sympathy for the demonized Dahmer. For example, Backderf utilizes a common comic strip technique known as a “splash page” with great regularity. These pages contain a single image that convey a dramatic emphasis on certain scenes.
Additionally, illustrations are as equally important as the dialogue. Though the illustrations appear infrequently, their placement in the book represents significant moments for and between the characters. On page 38 and 39 of The Gold Cadillac, a double page spread depicts the
