Fun Home is a family tragicomic is a realistic memoir by Alison Bechdel. This focuses explicitly on his parents, Helen and Bruce, and their work in his life. Bechdel crafts the story around the deplorable occasion of his father's disappearance. also, following her journey from little girl to young adult as she understands her own lesbian sexuality, the suicide (without doubt) of her father Bruce and his mysterious homosexuality or promiscuity which he kept hidden for an incredible length of time while by having illicit relations with underage young men. We often have the impression that graphic novels and comics are here and there less modern or less important than usual books, as if the use of broad strokes instead of long representations of messages makes them an increasingly more simplistic. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay. Regardless, the mix of illustrations and text in graphic novels makes an equally mind-boggling encounter, I think, providing a fascinating opportunity to examine methods of cooperation between content and representations. In this article, I will examine Alison Bechdel's memoir, Fun Home, to determine the different ways in which the use of illustration was discussed in the book. I will show, through examination of different entries in the book, that the illustrations support the text by revealing the idea of ​​the connection between Alison and her father Bruce, using accurate symbolism that reflects the text and deepening the knowledge about the way in which the author of the book sees his reality and the individuals who find themselves there. Additionally, in this article I will talk about the art style and how it influences your reading or not. The bond between Alison and Bruce becomes easier for the reader to understand when examining their interaction with each other, for example. a discussion between them in Bruce's library from pages 84 to 86 that shows how their relationship is basically cold all the time and this happens because of Bruce's distinction from the real world, and the scene on pages 220 and 221 between them in the vehicle en route to a film that traces the extraordinary battle it is their responsibility to convey their astonishing resemblances. The exact symbolism that supports the text can be discovered by comparing the first and last scenes of the book, both of which include Alison as a small youth as if flying while the relationship between her and Bruce is associated with the myth of Icarus, and on page 134. which speaks to Alison's truly inaccessible "art colony" family in their own separate inventive bubble in the house. Deeper insights into Alison's perspective on the world can be gained by taking a look at examples of how she outwardly talks about masculinity and femininity, for example how she portrays men Female Gays in New York on page 190 and during her visit she is introduced to the gay community and she is fascinated by the "cosmetic masculinity" she saw in gay men, and a dancer in the book is drawn in an elegant way and Alison thought it was feminine and strange for a man to do that pose. She draws herself in a masculine way throughout the book, which I found interesting as well because in the book she expressed how she doesn't like girly clothes. At this point, when the outline is studied along with the text of Fun Home, deeper insights into the connection between Alison and Bruce can be detected. An example of thisis the scene between them in Bruce's library, as I said earlier. In the text, Alison reflects on her father's secretive ways, describing his "preferring fiction over reality" and the eerie similarities between his disappearance and that of F. Scott Fitzgerald, as if Bruce had arranged things that way. Bruce is an enigma to her, he has a complex inner world that her little daughter will never understand or invade, so she has to guess after his death. At the same time, the footage depicts a seemingly mundane scene between Alison and Bruce in which she approaches him for money to buy books. They are visibly cold towards each other for a father and daughter. They tell each other the minimum and Barley makes eye contact throughout the scene. Bruce never looks up from the top of his book (a biography of Fitzgerald's wife, Zelda) and is completely unconcerned with the quality and Alison's questions. He sits surrounded by his books, reading in a rocking chair, looking engaged and authentic. Bruce cannot break his fixation on writing for his daughter and remains in his own reality despite her. Alison again has a slightly contrived outward appearance, as if she was afraid to speak to her father. She encounters a similar dissatisfaction with being forced out of her father's reality, as she does when she contemplates his passing while composing the contents of the book. The text doesn't really describe what is happening in the illustrations, however, the two parts of the scene work together to create significance: the distance between Alison and her father because he is difficult to understand. Another scene that investigates their relationship is the scene in Bruce's vehicle on pages 220 and 221, in which they cautiously make an effort to talk about their sexuality just because. The main text of the scene is their exchange and some of Alison's considerations at the time. The full expanse of the indistinguishable square panels creates a sense of anticipation, as if they had solidified in time. “I stood still, as if he were a magnificent deer, I didn’t want to surprise.” The format of the scene conveys the strength and tranquility that she fully feels at this unequivocal moment where she almost makes a disconcerting association with her father. Their rapid outward appearances from one square to the next make them both anxious. The similarity of the panels, aside from the text and the outward appearances of the characters, reflects the equivalence of Alison and Bruce that is so evident in this scene. . Both have communication problems but need to open up, they have faced a significant number of similar problems related to their strange personalities, they are both tested by their tangled relationship. They are even drawn with comparative facial highlights, for example, their noses and facial structures, which is simple for the reader/audience to see when they are drawn next to each other by rehashing alternate square panels full pages. When I come across graphics in novels like Fun Home, the style of the craft has a big impact on whether I need to understand it or not. As a graphic novel, Alison has worked admirably to make the craftsmanship realistic as it should be. His style is drawn in a semi-practical manner and does not edit out profanity or nudity. The style is simple but honorable, drawn with fresh and dull lines. Forgetting the little subtleties, the illustrations work superbly to convey the storyline. The style of the graphic novel is simple and neat, but there are often striking stylistic shifts. Alison's style initially includes..