Fun Home is a family tragicomic is a realistic memoir by Alison Bechdel. It focuses explicitly on his parents, Helen and Bruce, and their work in his life. Bechdel builds the story around the regrettable occasion of his father's death. also, following her journey from little girl to young adult as she understands her own lesbian sexuality, the suicide (no doubt) of her father Bruce, and her mysterious homosexuality or promiscuity that she kept hidden for a surprising amount of time while having illicit affairs. with young minors. Graphic novels and comics are often thought to be here and there less modern or less important than traditional books, as if the use of outlines instead of long representations of messages makes it an increasingly simplified medium. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Be that as it may, the mixture of illustrations and text in graphic novels makes for an equally stunning encounter, I think, as it provides a fascinating opportunity to examine the ways in which content and representations cooperate. In this article, I will take a look at Alison Bechdel's memoir Fun Home to determine the different ways the use of illustration was mentioned in the book. I will show, through examining several entries in the book, that the illustrations support the text by uncovering the idea of ​​the connection between Alison and her father Bruce, using exact symbolism that mirrors the text, and providing further knowledge about how the author of the book sees her reality and the individuals contained in it. Also, in this article, I will talk about the art style and how it affects whether or not you read it. The connection between Alison and Bruce becomes easier for the reader to understand when observing their interaction with each other, for example a discussion between them in Bruce's library from pages 84-86 which describes how their relationship is practically always cold and that it happens because of Bruce's distinction with the real world, and the scene on page 220 and 221 between them in the vehicle on the way to a film that outlines the extraordinary battle it is for them convey their uncanny similarities. 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 young girl as if she were flying while the relationship between her and Bruce is associated with the myth of Icarus, and on page 134 that is about Alison's genuinely inaccessible "artist colony" family in their separate inventive bubble at home. Further knowledge about Alison's perspective on the world can be gleaned by taking a look at examples of how she speaks outwardly to masculinity and femininity, for example the way she describes feminine gay men in New York on page 190 and during her visit she is introduced to the gay community and is fascinated by the "cosmeticized masculinity" she saw in gay men, and a dancer in the book is elegantly drawn and Alison thought it was feminine and strange for a man to do that pose. She portrays herself as masculine throughout the book, which I thought was also interesting because in the book she expressed how she doesn't like women's clothes. At this point, when the outlines are examined as well as the text in Fun Home, further insights into the connection between Alison and Bruce can be gleaned. A case of this is the scene between them in Bruce's library, as I stated before. In the text, Alison reflects on her father's secretive ways, describing his "preference for fiction over reality" and the strange similarities between his death and that of F. Scott Fitzgerald, as if Bruce had arranged things in thatway. Bruce is an enigma to her, he has a complex internal world that his little girl can never understand or invade, so she is left with doubts after his disappearance. At the same time, the images reproduce a seemingly insignificant scene between Alison and Bruce in which she approaches him to ask for money to buy books. They are noticeably cold towards each other for a father and daughter. They say the least to each other and Barley maintains eye contact throughout the scene. Bruce never looks up from his book (a biography of Fitzgerald's wife, Zelda) and is completely indifferent to Alison's qualities and questions. He sits surrounded by his books, reading in a rocking chair, looking engaged and genuine. Bruce can't break his fixation on writing for his girlfriend and remains in his reality despite her. Alison then has a slightly fomented outward appearance again, as if she is afraid to address her father. She is encountering a similar dissatisfaction in being expelled from her father's reality as when she examines his disappearance while composing the contents of the book. The text does not exactly describe what is happening in the illustrations, however, the two parts of the scene work together to create meaning: Alison's distance from her father because it is difficult to understand. Another scene that investigates their relationship is in Bruce's vehicle on pages 220 and 221, where they cautiously attempt to talk about their sexuality just because. The main text of the scene is their exchange and a portion of Alison's thoughts at the time. The entire spread of indistinguishable square panels creates a feeling of anticipation as if they are solidified in time. “I stood still, as if it were a beautiful deer that I didn't want to scare.” The format of the scene makes clear the strength and tranquility he feels in that unmistakable moment when he almost makes an association with his disconcerting father. Their rapid movement from one panel to the other makes them both look anxious. The identity of the panels, aside from just the text and the outward appearance of the characters, reflects the equivalence of Alison and Bruce that is so evident in this scene. . They both experience communication problems but need to open up, they have struggled with a significant number of similar issues related to their strange personalities, they are both challenged by their tangled relationship. They are even drawn with comparative facial highlights, such as their noses and facial structures, which is easy for the reader/audience to see when they are drawn next to each other in square panel reshapes for two entire pages. When I come across graphic elements in novels like Fun Home the style of craftsmanship has a forceful impact on whether I need to understand it or not. As a graphic novel, Alison has worked admirably to make the craftsmanship as realistic as it should be. His style is drawn to a semi-practical manner that does not modify vulgarity or nudity. The style is simple but honorable, designed with fresh, matte lines. Forgetting the little subtleties, the illustrations work beautifully in conveying the plot. The style of the graphic novel is simple and clean, but there are often vivid changes in the style. Alison's style initially includes cool, dark lines tinged with various shades of blue. Typical representation of depth and point of view includes darker shades of blue. Page 41 is the first time the style changes significantly. Inside one book you see an image of the Addams Family, but it is extraordinarily and extremely unique compared to the rest of the novel. He is attracted to the style of the first creator of the Addams Family, Charles Addams. Another style change that stands out.