IDENTITY
People who write autobiography generally have a a tale to tell, a message to spread. Autobiographical comics are an ideal format to do this as the intimate, individual dialogue used in conjunction with art, generally produced by the writer, ensures a sense of intimacy that forces the reader to believe what is being told to them (Whitlock G, “Autographics: the seeing "I" of the comics”. Modern Fiction Studies, 52 (4) (Winter 2006) p 966) This combination of art and text means that each work has a familiar and unique voice. This signature style tells us a lot about the hand which has shaped the work. In the following section we consider various artists and what they're work says about who they are.
Marjane Strapi's work Persepolis is seen as having been instrumental in the rise of the autobiographical comics as movement in Europe (Beaty B, “Autiobiography as Authenticity” in Heer, J. & Worchester, K. (eds) A Comics Studies Reader (University of Mississippi Press, 2008) pp 226-235 (p231)) Such critical success has meant that comics are now seen as an ideal platform for tackling serious subjects credibly. Ibid., p 230 Part of the reason for the success of Persepolis is undoubtedly the fact that the reader finds the work convincing and believable. Whitlock G, “Autographics: the seeing "I" of the comics”. Modern Fiction Studies, 52 (4) (Winter 2006) p 978 This means the reader is able to identify with the basic family story at the heart of Persepolis. Subsequently, this gives them them the opportunity to re-analyse their own feelings on Arab culture in general. Gilmore L, “Witnessing Persepolis Comics Trauma and Childhood Testimony” in Chaney, M (ed) Graphic Subjects pp 157-163 (p157)
It's also argued that because autobiographical comics make use of repeated self portraiture that it allows for the creator to indulge in a complex exploration of their own identity. Worth J, “Unveiling Persepolis as Embodied Performance”. Theatre research International 32, 2 (International Foundation Theatre Research, 2007) pp143-160 (p143) Satrapi expresses her identity straight away in her book. The first scene concerns the introduction of the veil. Satrapi M, Persepolis p2 This allows Satrapi the opportunity to express her views and also to demystify this exotic habit for it's western audience. Whitlock G, “Autographics: the seeing "I" of the comics”. Modern Fiction Studies, 52 (4) (Winter 2006) p 975 However, not only is she attempting to define herself as a modern Iranian woman she is also trying to redefine, or“reframe,” her country's ideology as that of a modern state full of real people and not as the two-dimensional member of the “Axis of Evil” that it is currently seen as. Elahi B, “Frames and Mirrors in Marjane Satrapi's Persepolis”. Symploke 15, 1/2; (ProQuest Direct Complete, 2007) p 312-325 (p 312) Satrapi's attempt to tell her life story and subsequently define her own identity seems to have been as success. In interviews she claims that on the back of writing her work she feels more secure in her identity as an Iranian woman more than ever. Tully, A Interview Marjane Satrapi, Bookslut (Oct 2004)
Before the 2006 success of Fun Home: A Family Tragicomic, Alison Bechdel was more famous as the writer/artist of Dykes To Watch Out For. Bechdel, obviously from the title of her long running strip, is openly gay and has used her comics to explore various political views; ie. Bush, homosexuality, popular morays. In Fun Home Alison Bechdel explores her own origin by examining the father-daughter relationship. Brown Spiers M “Daddy's little girl: Multi generational queer relationships in Bechdel's Fun Home” in Round, J. and Murray, C (eds), Comics as Autobiography -Studies in Comics, 1.2 (Intellect, 2011) pp 315-335 (p315 ) This device, popular since the Ancient Greeks, allows Bechdel the opportunity to explore her life growing up as an out-and-proud lesbian and to compare that with her father's own unhappy closeted existence. Ibid., p 319 The book has also been successful in in normalising a gay lifestyle. Ibid., p 316 Since stories concerning openly gay protagonists are, on the whole, a recent phenomena Bechdel here acts in some ways as a missionary. The comparison in her work between father and daughter here showing the importance of coming out.
When Aline Kominsky Crumb started writing famous feminist author Trina Roberts discouraged her saying, “who wants to read about you worrying if your fat and ugly” The Believer. Interview Aline Kominsky Crumb Nov/Dec 2009. Her future husband Robert Crumb, inspired by her unique voice and the personal aspect of her work, on the other hand encouraged her. Kominsky Crumb A, “Need More Love” (MQ Publications, 2007) To give Robbins credit Komisnky's stories are generally about her fears of being fat and ugly, indeed Kominsky refers to herself as the “grandmother of whiny tell-all stories” The Believer. Interview Aline Kominsky Crumb Nov/Dec 2009. That said although her work is personal and there is definitely an audience for her work; body issues appeal to a sizeable section of the population. Interview Sophie Crumb , “Need More Love” (MQ Publications, 2007) p370 Kominsky uses various analogues to represent differing facets of her personality at the time Whitlock G, “Autographics: the seeing "I" of the comics”. Modern Fiction Studies, 52 (4) (Winter 2006) p 978. Yet within these varying persona and their idiomatic styles and speech patterns and through stories such as Nose Job; the underlying hand of the female Jewish creator is omnipresent and glaring. Oskman T, “Visualising the Jewish body in Aline Kominsky Crumb's Need More Love”, in Round, J. and Murray, C (eds), Comics as Autobiography -Studies in Comics, 1.2 (Intellect, 2011) pp 233-255 (p 229) Jewishness is woven through the story of her life narrative as detailed in Need More Love. Ibid., p214 Like Satrapi, Kominsky introduces her religion in the first panel of “Goldie- in the beginning I feel loved” there in the frame is her Star of David, her Jewishness is at the heart of her identity and at the heart of the stories she wants to tell. Ibid., p215
From examining the legendary Robert Crumb's work it is clear that he likes shocking people and climbing on top of big women. Crumb R, “R. Crumb Handbook” various pages In the R. Crumb Handbook probably the clearest and most obvious prominent example of who Crumb actually is, is his Depression graph that graces the back pages. Ibid., Back pages Crumb has no obvious message to spread and it is through commentaries on his work by various luminaries within comics that Crumb is given shape. Trina Robbins, feminist and one time girlfriend of Crumb, thinks of him as a misogynist driven by his contempt for womankind. Robbins T, “Tina Robbins” in Beauchamp M (ed), Life and Times of R. Crumb: Comments from contemporaries (Kitchen Sink Press, 1998) pp 39-42 (p40) Wil Eisner on the other hand congratulates him for his contribution to the comics industry and sees in him a model of an artist creating personal and enduring work. Eisner W, “Wil Eisner” in Beauchamp M (ed), Life and Times of R. Crumb: Comments from contemporaries (Kitchen Sink Press, 1998)pp 17-18 (p17) For Alan Moore, Crumb is on the fore of the sexual liberation movement and is admired as his role as one of the founding fathers of the underground comic scene. Moore A, “Alan Moore” in Beauchamp M (ed), Life and Times of R. Crumb: Comments from contemporaries (Kitchen Sink Press, 1998) pp71-82 (p75) Crumb though is all of this and more. Inteview Simon Hattenston talks to Robert Crumb, The Guardian, Monday 7th March 2005 In various interviews and from within his role in his wife's autobiography a different Crumb emerges, a more sedate woman respecting man. Kominsky Crumb A, “Need More Love” (MQ Publications, 2007)
Dave Sim is not the primary character within his work Cerebus. He appears within the work as the “voice of Dave,” a god like entity speaking directly into Cerebus' head. He is also represented, arguably, through Cerebus himself. Theisen N A, “… is not David Sim: Writing life as parody in Cerebus” in in Round, J. and Murray, C (eds), Comics as Autobiography -Studies in Comics, 1.2 (Intellect, 2011) pp233-255 (p ) The “Voice of Dave” speaks the words of the creator of the comic strip “Cerebus” and so are therefore recognisable as Sim's own, for who else could they be? Ibid., p 249 This omniscient part of Sim- his superego- allows Sim a direct voice with which to address his creation and his readers. Sim also uses avatars to talk about the struggles of the self publishing author and to dispense the wisdom of the myth of Cerebus universe and how it is reflected in the difference between the genders. Both of these characters sound like Sim but because they seem to be does not mean they are. People who worked with Sim say that the anti-feminist rant is honest to goodness Sim. Similarly, his legendary zeal for self publishing and his struggles in that industry are well publicised, so again this analogue sounds like Sim. Sim D, Cerebus Guide to self publishing, 2008