Writing Techniques in Art Spiegelmans Maus and Kurt Vonneguts Slaught

Writing Techniques in Art Spiegelmans Maus and Kurt Vonneguts Slaughterhouse FiveBAM ZONK prisoner of war ZAP What images do these words bring to mind? For m all people, they unlawful scenes of Batman and his sidekick Robin, fighting their way through a legion of swelled guys while 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 unending struggle between good and barbarous is illustrated in sour and sporty terms. Unlike comics or television, life does non fit within these binary star opposites. In a war there are good guys, self-aggrandizing guys, and everything imaginable in-between. ZONK POW Did a sorry guy get throw into a pile of crates or did our hero get knocked out from rat? These simple words are not enough for us to select the difference between good and bad or right and wrong. At the same time, no artist or w riter or illustrator could ever hope to nonplus a situation in its entirety. How would a prison term like, the hero, who although he treats his wife in a derogatory manner, punched a bad guy to save a damsel in distress dish as a gauge of morals or justice? It is not the creators job to portray an entire event, but rather, to present the event in a way that the audience can project and point their own conclusions from. In Maus, Art Spiegelman does not make any apologies almost what he includes or leaves out from his story. Maus is not meant to be a story that encompasses World War II or the Holocaust, but rather, a story close to the life of his father, Vladek SpiegelmanI still want to draw the watchword about you/The one I used to talk to you about/About your life in Po... ... but rather, that it was humanity itself which suffered. It is interesting that we cannot definitively dictate that either Maus or Slaughterhouse Five was intended to be an anti-war book. For an precedent to have taken a side would have opened their book to more criticism and opposition than they already harbor. Instead, both Vonnegut and Spiegelman chose to mask their honest meaning 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.