The fact that Marji is seen to have a neutral facial expression depicts that she is unsure of which ideology is the one she should embrace, a question that plagues her throughout the course of .
The unpleasant truths about the regime are metaphorically unveiled to Satrapi, paralleling to her loss of innocence.
After hearing that her friend’s father “was in the Savak” and that he “killed a million people,” (Santrapi 44) Marji wants to teach her supposed friend Ramin “a good lesson.” (Satrapi 45)In fig.
7 Marji and her peers put nails between their fingers with the intention of attacking a petrified Ramin, who hides behind a tree.
Satrapi deliberately did this to convey to the reader that although the veil is physically and metaphorically weighing them down, their differences in eye shapes and expressions, hairstyle and noses show that underneath the veil they are individual women in their own right, wanting to break free.
The juxtaposition of women who are either for or against the veil depicted in fig.A significant part of the caption reads, “I’m sitting on the far left so you don’t see me.” Satrapi has deliberately cropped herself out from the class photo, with just her left arm showing, for two particular reasons: To stress the idea that they all look exactly the same with the veil on — they are all just as faceless and insignificant as each other so it simply wouldn’t matter if she was in the photo of not.Marji also does not want to associate herself with the regime nor does she want to adopt any of its principles — including wearing the veil; she does not want her class photo to be of her wearing a symbol of conformity and obedience.In Fig.1, Satrapi introduces herself to the reader and makes note that it is post-Islamic Revolution, when she was 10.One of the most telling panels, this depicts a somber Marjane (or Marji as she is known throughout Persepolis), looking directly at the reader, as a prisoner would silently crying for help, with her arms tightly folded as if to physically close her body off from the world.The eyes of Marji and her peers are closed tightly in anger, which again represents the notion that their eyes are physically and symbolically shut — they are metaphorically veiled to believe that what they are told about the regime (even if it has not been proven to be accurate) is enough justification to outright attack someone they once considered to be amongst them.Marji is profoundly unveiled to the brutality of the regime when she hears of the torture that is exercised in Iran’s prisons. 8 depicts the brutal torture that political prisoner and family friend Ahmadi had to endure that led to his eventual assassination.Marji is drawn to be in the luminous moon because she is figuratively becoming enlightened, after beginning to come to the realization that the Shah’s regime was built on false promises.Marji’s resentment for the regime continues to grow the more statistics she hears of it (regardless of their validity).This visual dichotomy between dark and light is reiterated in the following image of Marji, whose innocence physically evades her after hearing of the brutality of the regime.She wants “to take a bath” to empathize being in a cell filled with water, just like her grandfather.