Writing Techniques in Art Spiegelmans Maus and Kurt Vonneguts Slaught

Writing Techniques in Art Spiegelmans Maus and Kurt Vonneguts Slaughterhouse FiveBAM ZONK POW zap What images do these words bring to mind? For many people, they illicit scenes of Batman and his chum Robin, fighting their way through a legion of bad goofballs small-arm arriving only seconds after their arch-villain has escaped. From these short, succinct, nonsense words, images of battles are painted over a much larger canvas the delicate balance and constant fence between good and evil is illustrated in black and white terms. unalike comics or television, life does not fit within these binary opposites. In a war there are good guys, bad guys, and everything conceivable in-between. ZONK POW Did a bad guy get thr receive into a pile of crates or did our hero get knocked out from behind? These uncomplicated words are not enough for us to distinguish the battle between good and bad or right and wrong. At the same time, no artist or writer or illustrator could ever go for to present a situation in its entirety. How would a sentence like, the hero, who although he treats his wife in a derogatory manner, punched a bad guy to save a damsel in distress serve as a gauge of morals or justice? It is not the ecclesiastics job to portray an entire causa, but rather, to present the event in a way that the audience can understand and retire their own conclusions from. In Maus, Art Spiegelman does not make any apologies astir(predicate) what he includes or leaves out from his get over. Maus is not meant to be a base that encompasses World War II or the Holocaust, but rather, a story about the life of his father, Vladek SpiegelmanI still want to draw the concur about you/The one I used to talk to you about/ most your life in Po... ... but rather, that it was humanity itself which suffered. It is interesting that we cannot definitively say that each Maus or Slaughterhouse Five was intended to be an anti-war book. For an author to go taken a side would have opened their book to much criticism and opposition than they already harbor. Instead, both Vonnegut and Spiegelman chose to mask their true center behind subtle hints and allusions. We cannot put either book into the black or white category of pro or anti-war. Even Vonnegut by his own admission states that, all I would have to do would be to report what I had seen (Vonnegut 2). Maus and Slaughterhouse Five are not about proving a point or pushing an agenda. Instead, they present the absolutes of good and evil in a simple and concise way so that we may be able to distinguish all of the many gradients that lie in-between.