Most of our discussion of Persepolis seems to focus either on the black-and-white color scheme or the historical points explored.  The colors could harken to anything from political cartoons to child’s scribblings, but from what has been discussed so far, the consensus of its major purpose seems to be a representation of dichotomy.  Satrapi shows the division of this Cold War narrative in the tradition of division- black and white, right and wrong.  This is the larger framework that the conflict in Iran, along with Satrapi’s own life-drama there and elsewhere, plays out.  For sixty years, the world was being divided by the machinations of two superpowers, with all the individuals and ideas in that period acting as pawns of varying size and influence, or trying to free themselves from the deadly game.

No matter which side Satrapi is on during her life, it is always the right one.  Religion, communism, anarchy, modern living- she is always convinced that whatever she does is correct.  This mindset is a reflection of the polarized era that penetrated virtually all of civilization during that period, and this is what resonates in the doodle-like nature of the art.  Understanding this rather insane world is tough for even the most world-weary, as shown by all of Satrapi’s role models eventually failing or dying.  The polarization results in  a constant stalemate, an infinite war that only results in more casualties, on the literal battlefield and off.