Scott McCloud’s articulation of the universality of cartoon imagery (‘when you enter the world of the cartoon—you see yourself’ [36]) has come under much scrutiny during the years since Understanding Comics first ushered the medium into the spotlight among academics. I am partial to this growing collection of perspectives that seeks to complicate the idea that comics naturally invite readers into their worlds. Gillian Whitlock, in her reading of Marjane Satrapi’s Persepolis, offers one such complication; ‘there can be no simple universality in the associations produced by cartooning across very different relationships’ (977), she writes. Even a cursory survey of the tools, topics, and stylistic and generic choices that cartoonists have employed in their work reveals that comics do not make us all one in our experiences; instead the form (as with any form) exhibits a proliferation of divergent approaches to life—some that pull us in with their imagery and others that seem determined to alienate. Additionally, universalizing claims tend to neglect the medium’s capacity to help readers “re-see” known events or experiences with new points-of-view. Of course, another problem with universalism is that what we understand as a universal worldview tends to be dictated by those who have the power and voice to control the world’s goings-on.
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