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Originally posted by purplegiraffe_15 on February 02, 2026 18:56

Art Spiegelman uses the comic format of Maus in order to emphasize the dark nature and fear of the Holocaust. Through the inclusion of Vladek’s life before the Holocaust, the audience can give him emotional value and attachment in order to understand his suffering. Vladek’s depiction of Jews and Germans as mice and cats emphasizes the contrast between victim and perpetrator. Mice are helpless against cats, as they are too weak and scared to fight against them. The victimization of Jews in Maus delivers the grave message of the plight of Jews in a way that reality cannot emphasize. On page 85, the panel where three mice are hung from ropes with their feet hanging carry lots of messages. This scene shows the extremes that Nazis were headed towards and the unfair conditions that Jews were experiencing. Each person hung had their own connections with Vladek, families, and importance in society. Another powerful visual scene is on page 117, where Anja’s father is begging to be saved by being snuck out of a building. Haskel, Vladek’s cousin, wasn’t willing to take the risk of sneaking out Anja’s parents because they were too old. As her father looks out the window in despair, groaning and aware of his imminent death, the audience can see the distress that he goes through. He pounds on the window to be saved, yet there was no possible way that his suffering could’ve been avoided. There are certain scenes that use black shading to highlight a sinister and eerie setting, whether it’s in physical places or used in facial expressions, which especially cannot be replicated unless it is within a visual format. Overall, the comic format breaks the borders of literature and can directly show audiences the realities of the Holocaust without leaving the imagination to interpret numbers or words. As Vladek tells his story to Art, Maus seemingly swaps between the past and present in panels. Vladek’s survival account becomes an ongoing struggle rather than an event of the past, as past trauma directly affects his anxieties, frugal personality, and relationships with others. In Maus II, Art also grapples with his own guilt and the burden of his father’s past. He sometimes feels like he wasn’t enough compared to Richieu. The book shows that the trauma of the Holocaust is process that will affect generations to come.

One of the points that stood out to me while reading this response was “Vladek’s depiction of Jews and Germans as mice and cats emphasizes the contrast between victim and perpetrator. Mice are helpless against cats, as they are too weak and scared to fight against them,” which made me think in a different way of how Spigelman made his comic based on how to represent the characters. I agree with this idea because it shows how Spiegelman purposely made his characters for how they are usually portrayed in reality. I think this idea is interesting because I never would have thought about this when reading Maus or when writing about Maus. Most of the responses talk about how the comic portrays black and white and how it can represent horror or fear because of the events that were happening. I agree with what my peer said and it made me think about different things throughout the comic that I never would have thought of myself. I also agree with how Spiegelman does a good job of portraying the Holocaust through visualization such as the colors, the drawings, the characters, and overall how it is made. It helps readers imagine what the Holocaust would be like if they were to see it and you could imagine how survivors would feel after it had ended and the trauma they had to face.

Originally posted by wrox797 on February 03, 2026 10:21

Showing someone a story instead of simply telling them can be way more effective than a typical story. Art Spiegelman’s Maus is no exception to this concept. Not only does he use comics, he portrays the animals as mice rather than humans. Using this format, he is more easily able to transition between the current day and the stories of his father’s past. Everything is visually more connected, which highlights how recent the Holocaust is for the people involved and their children.

Spiegelman is also able to use his drawings to symbolize the rough relationship with his father and how the Holocaust impacted that. For example, in Maus I on page 6, the last panel shows Vladek and Art in a very large, empty room. This is one of the first times we see him and his father as well, and the vast emptiness displays how distant Vladek and his son are from each other. This is well due to the Holocaust, and how Vladek never truly recovered. Art is able to use imagery in this format, which adds complexity to the story and a story as large and horrible as the Holocaust could definitely use this kind of format.

There is also something to be said about visualizing terrible events rather than being told about them. For example, on page 63 there is a panel where the Nazis execute war prisoners in the forest and leave the bodies to rot. Being told something like this is no doubt emotional, but actually seeing the prisoners defenseless, on their knees with their hands behind their head and then slumped over in the pit is much more effective at getting the reader to feel certain emotions.

Some argue that this style of writing is too “childish” or reduces the impact of the Holocaust. They say that this period of time is too serious to represent it through a comic strip. This idea comes from the fact that generally unimportant pieces of work, such as comics, implement the same types of design that Spiegelman did. However, just because it is common in children’s work does not mean that it cannot be used effectively in order to convey other ideas

This person asserts that the comic form isn’t overly childish and could be utilized to depict the gravity of the Holocaust. The historical usage of comics has been mainly to create “unimportant” or silly stories that are meant to be entertaining. The iconic comic has bright, popping colors with humorous characters or action filled panels. Art Spiegelman transforms this format into a comic that uses purely black and white colors, removing the “vibrance” that comics usually display. Although the way of which he uses the media is rare, I believe that he successfully conveys the eerie horrors of the Holocaust. Similar to other peer responses, this person’s mention of Jews being portrayed as mice in Maus carries symbolic references to mice being helpless and unable to overcome external forces that spite them. The visual depictions of mice suffering, as referenced on page 63, makes the reader directly experience the suffering of the Jews. They describe that the mice are “defenseless, on their knees with their hands behind their head and then slumped over in the pit”, which carries meaning as just words but carries even more of an impact as an image. Overall, the shading and drawings in Maus definitely carries significant impact and contribute to the complexities of acknowledging the Holocaust rather than make the genocide seem less serious.

Originally posted by 123456 on February 04, 2026 10:21

I do think that Spiegelman’s use of the comic form is effective in conveying the emotional and historical weight of the Holocaust. To be clear, this does not mean that the true emotions and feelings themselves can be properly conveyed. I think that that is a near impossible if not truly impossible task. However, the simplicity of the comic expressions in itself acts as an admission that all forms of art as an effort to express those emotions would be inadequate. In this way, one truly understands that the weight and burden of that trauma is not something that one ever will understand.

The format of a comic novel makes it very easy for Spiegelman to express the past and the present together. The presence of boxes and subsequent room for creativity means that the literal lines between past experiences and present effects can be clearly drawn and shown. In this way, Spiegelman is able to more clearly connect the effects of the traumas of the holocaust to their impacts on survivors today. For example, all of Vladek’s flashbacks are followed or preceded by events in which he expresses intense emotion and feeling.

The suggestion that the comic format is somehow not serious enough for such a heavy topic can be easily countered. One could argue that no medium is truly effective in its individual self in expressing the traumas of the holocaust and the subsequent effects. However, one must understand that pain and experiences such as those discussed in Maus must be and ought to be expressed in many different ways. As stated in ‘The Shadow of Past and Time’, “Maus’s contribution to thinking about the ‘crisis in representation’ I will argue is precisely in how it proposes that the medium of comics can approach and express serious, even devastating, histories. Expecting such an experience to be confined to one medium means that you expect the holocaust to be easily expressable, or at least that it can and should be confined to that medium as the only form of expression. Not only does that show the clear presence of ignorance surrounding the topic, but it shows the clear tendency to lean toward simply facts and words, when such a tragedy cannot be expressed so easily.

I first want to say that your writing style and way with words is truly spectacular. The response is written wonderfully. The most compelling idea in your post is your observation of how Spiegelman expresses the past and present together. I never realized that all of Władek’s flashbacks occur around the same time as major events that trigger emotional reactions in him. This observation explains clearly that if done right, the format of a comic can convey the historical and emotional weight of the Holocaust. This also explains why young readers are eager to read about it. Since it is in a comic format, we are drawn to it. Therefore, Spiegelman knew that he could write about the real tragedies of the Holocaust while still being able to keep the young reader’s attention. I agree with your point that it is not possible to truly convey the emotions, feelings, and even grandness of the Holocaust. Its history is so dense and complex that there may never be a piece of work that will represent it all. The fact that we do have various formats like history books, comic books, and different artwork each work to connect all the dots.

Originally posted by random on February 01, 2026 19:19

Spiegelman’s use of the comic form is effective in conveying the emotional and historical weight of the Holocaust because typically when I see or read comic books they are usually entertaining or funny in a way, but in Maus it was the opposite but it was very well put together. Maus I and II uses imagery to show the murders, the scenery, the people, and anything you would imagine while listening to Vladek’s story. He used comic form to show the trauma, the vivid memory, and the reasons he survived his journey throughout the Holocaust by portraying these books as graphic novels to make readers have a better visual and reading interpretation. This book is well drawn and written to show an experience of a survivor and helps readers now when they want to visually learn about the Holocaust because of the harsh and traumatizing aspects. The format of the graphic novel supports movements between past and present because they are both easily depicted as you read the comic. Both Maus I and II show vivid detail such as in Maus I on page 56, it shows them working on the mountains and expressing how hard it is. The graphic novels use vivid imagery to show the readers as if they were experiencing the same journey. The past was Vladek’s journey throughout the Holocaust and everything that he experienced such as murders right in front of him, losing people, going from place to place, hiding, starving, and doing anything he can to not get caught. The present was Vladek telling his story to Artie, so that he could write about it for him and tell the world what life was during the Holocaust and what happened to people as a viewer. In “The Shadow of a Past Time” Hillary Chute says, “In this Holocaust representation, the artist’s hand is the visibilized link between the personal voice of the primary witness and its translation, the voice of the secondary witness: as such, Spiegelman’s hands are frequently pictured in Maus, and his “artistic hands” are the subject of conspicuous conversation between him and his father.” This shows that there are clear representations of Artie drawing the panels, the conversations with his dad to listen to his story, and the translation of how it went from Vladek into the comic. The argument against the suggestion that the medium lacks the seriousness needed to discuss the Holocaust the black and white that Spiegelman uses to portray throughout the graphic novel to show the harsh and serious times during the time. Black and white can also represent fear and trauma, which is exactly what Maus represents.

Post your response here.

You make a strong and compelling argument that Spiegelman’s use of the comic is not only appropriate for depicting the Holocaust but actually enhances the emotional and historical weight of the narrative. I definitely agree with your idea that the contrast between what people usually expect of comics and the seriousness of Maus makes the message of the story even more striking for readers. This is interesting as it challenges assumptions about what kind of mediums are “serious enough” to portray historical atrocities and shows how visual storytelling can tell some things that text cannot convey.

Your point about the movement between past and present is also really good as it connects with other points about how Maus layers Vladek’s Holocaust experiences with Art’s present day struggles to understand and represent them, strengthening the idea that trauma isn’t just confined to the past. I also appreciated your argument about the visible “artistic hand” and reinforces your arguments about the process of testimony between generations.

One suggestion I might give is to deepen your analysis of the specific panels or scenes, like the indirect quotes you mention and briefly explain what the imagery shows and how it affects the reader. I think also tightening some sentences and avoiding repetition would make your argument even clearer to the reader.

Originally posted by raybradbury12 on February 01, 2026 10:57

Art Spiegelman’s use of the comic form in Maus I and Maus II is highly effective in showing the emotional and historical weight of the Holocaust. While comics are often associated with playful entertainment, Spiegelman is able to challenge this notion by using the graphic novel format to decrepit trauma, memory and survival with seriousness and depth. The visual structure of Maus allows readers to engage with the Holocaust not only as a historical event, but as a real live experience that continues to shape the present.

One of the key strengths of the comic form is its ability to shift smoothly between past and present. As Vladek recounts his experiences during the Holocaust, it shifts between scenes of his survival in Nazi controlled Europe and moments of tension between Vladek and Art in postwar America. This visual contrast emphasizes that the past is never fully separate from the present. Panels depicting Vladek’s everyday behaviors, like his frugality and need for control, are next to flashbacks of deprivation and fear, showing how trauma persists long after the events themselves. The fragmented panel structure represents the fragmented nature of memory, reminding readers that history is reconstructed through personal recollection instead of a complete and objective account.

In “The Shadow of Past Time” Hillary Chute says that graphic representation in Maus allows for a layered form of storytelling that combines historical documentation with personal memory. The medium captures both what can be remembered and what resists representation. Spiegelman’s choice to depict Jews as mice and Nazis as cats doesn’t trivialize the Holocaust. Instead, it emphasizes the dehumanization at the center of Nazi ideology and also highlights the constructed nature of representation. This self awareness draws attention to the ethical difficulty of representing atrocity and the limits of the narrative itself.

The argument that comics don't have the seriousness to address the Holocaust is debunked by the effect and power of Maus itself. The black and white artwork and unrestrained visual style shows the seriousness without sensationalizing the violence. By presenting trauma through seemingly ordinary moments of fear, loss and survival, Maus deepens emotional engagement. It shows that comics aren't just able to address historical trauma but it can be the right medium to represent the complex relationships between memories, trauma and the present.

I agree with everything that was said in this post. In my post, I also made a point on how the fragmented structure of storytelling within Maus is used to contribute to the seriousness and historical weight of the Holocaust, but they brought it even further when they discussed how this reflects the fragmented nature of memory. This thought really stood out to me, and I never would have considered it in that way. I think that when you look at it from that perspective it really does strengthen the narrative within the comic. Another point made in this response that I really liked was the things that they said about the portrayal of different groups as different animals as it emphasizes the dehumanization that was so central to Nazi ideology. This element of the comic is something that was done very excellently within the story, and I think that it really adds a lot of value to both Vladek and Art’s narratives, especially in a way that wouldn't have been captured quite as well in just words. I also hadn’t considered how the choice of not including colors in the comic may have been an intentional choice to highlight the seriousness of the story, as comics are usually quite colorful. Overall, I think that this was a really great post and I think that many valuable points were made. e here.

Originally posted by raybradbury12 on February 01, 2026 10:57

Art Spiegelman’s use of the comic form in Maus I and Maus II is highly effective in showing the emotional and historical weight of the Holocaust. While comics are often associated with playful entertainment, Spiegelman is able to challenge this notion by using the graphic novel format to decrepit trauma, memory and survival with seriousness and depth. The visual structure of Maus allows readers to engage with the Holocaust not only as a historical event, but as a real live experience that continues to shape the present.

One of the key strengths of the comic form is its ability to shift smoothly between past and present. As Vladek recounts his experiences during the Holocaust, it shifts between scenes of his survival in Nazi controlled Europe and moments of tension between Vladek and Art in postwar America. This visual contrast emphasizes that the past is never fully separate from the present. Panels depicting Vladek’s everyday behaviors, like his frugality and need for control, are next to flashbacks of deprivation and fear, showing how trauma persists long after the events themselves. The fragmented panel structure represents the fragmented nature of memory, reminding readers that history is reconstructed through personal recollection instead of a complete and objective account.

In “The Shadow of Past Time” Hillary Chute says that graphic representation in Maus allows for a layered form of storytelling that combines historical documentation with personal memory. The medium captures both what can be remembered and what resists representation. Spiegelman’s choice to depict Jews as mice and Nazis as cats doesn’t trivialize the Holocaust. Instead, it emphasizes the dehumanization at the center of Nazi ideology and also highlights the constructed nature of representation. This self awareness draws attention to the ethical difficulty of representing atrocity and the limits of the narrative itself.

The argument that comics don't have the seriousness to address the Holocaust is debunked by the effect and power of Maus itself. The black and white artwork and unrestrained visual style shows the seriousness without sensationalizing the violence. By presenting trauma through seemingly ordinary moments of fear, loss and survival, Maus deepens emotional engagement. It shows that comics aren't just able to address historical trauma but it can be the right medium to represent the complex relationships between memories, trauma and the present.

I like the idea about the comic being able to shift time periods smoothly. Not only can they transition with ease, but it shows how much the past can influence the present. The ties that are mentioned, such as the pages where panels of present Vladek, with his disabilities and fragility, next to a younger version of himself in the past. It shows us the physical impacts of the Holocaust on the survivors. I also did not think of it through Vladek's perspective, and how the history that he recounts is his own personal perspective, and not necessarily objective.

I agree with the notion about how comics can indeed convey serious emotions and stories, and are not just meant for children. I also like the idea about the black and white artistic style, as it is not making it "cutesy" or childish; they are drawings meant to display a time very different from our own. Comics can absolutely be a correct way to convey the complexity of generational trauma, and the effects it has on everyone involved. Pictures can also do things that words cannot, such as being silent. By doing this, Art is able to emphasize certain emotions and the power of fear and control.

Originally posted by random on February 01, 2026 19:19

Spiegelman’s use of the comic form is effective in conveying the emotional and historical weight of the Holocaust because typically when I see or read comic books they are usually entertaining or funny in a way, but in Maus it was the opposite but it was very well put together. Maus I and II uses imagery to show the murders, the scenery, the people, and anything you would imagine while listening to Vladek’s story. He used comic form to show the trauma, the vivid memory, and the reasons he survived his journey throughout the Holocaust by portraying these books as graphic novels to make readers have a better visual and reading interpretation. This book is well drawn and written to show an experience of a survivor and helps readers now when they want to visually learn about the Holocaust because of the harsh and traumatizing aspects. The format of the graphic novel supports movements between past and present because they are both easily depicted as you read the comic. Both Maus I and II show vivid detail such as in Maus I on page 56, it shows them working on the mountains and expressing how hard it is. The graphic novels use vivid imagery to show the readers as if they were experiencing the same journey. The past was Vladek’s journey throughout the Holocaust and everything that he experienced such as murders right in front of him, losing people, going from place to place, hiding, starving, and doing anything he can to not get caught. The present was Vladek telling his story to Artie, so that he could write about it for him and tell the world what life was during the Holocaust and what happened to people as a viewer. In “The Shadow of a Past Time” Hillary Chute says, “In this Holocaust representation, the artist’s hand is the visibilized link between the personal voice of the primary witness and its translation, the voice of the secondary witness: as such, Spiegelman’s hands are frequently pictured in Maus, and his “artistic hands” are the subject of conspicuous conversation between him and his father.” This shows that there are clear representations of Artie drawing the panels, the conversations with his dad to listen to his story, and the translation of how it went from Vladek into the comic. The argument against the suggestion that the medium lacks the seriousness needed to discuss the Holocaust the black and white that Spiegelman uses to portray throughout the graphic novel to show the harsh and serious times during the time. Black and white can also represent fear and trauma, which is exactly what Maus represents.

Your post highlights a meaningful point about how unusual it is to encounter a comic that deals with something as devastating as the Holocaust, and that contrast strengthens the way you describe Spiegelman’s choices. The attention you give to the imagery in Maus shows a clear understanding of how the drawings communicate fear, exhaustion, and survival. The example you mention from page 56 in Maus I helps anchor your point and shows how the visual details make Vladek’s experience feel immediate. Your explanation of how the past and present interact in the panels also stands out, especially the way you connect Vladek’s memories to Artie’s process of listening and shaping the story. That structure is central to how the narrative works, and your post captures that movement well. One area that could be developed further is the section discussing Chute’s argument. The quote you chose is strong, and expanding on how the “artist’s hand” connects to the seriousness of the medium would help clarify the idea.

Originally posted by ilovecoffee on February 03, 2026 20:25

The use of the comic form in order to tell the story of the Holocaust, or any story that holds significant weight for that matter, is highly unconventional. Because of this, it bears the question of whether this medium is effective in conveying the emotional and historical weight of the Holocaust, but I feel that it definitely does.

One way that I think that the comic form conveys the emotional weight of the Holocaust is simply how it is able to capture each scene with the intensity that it actually possessed. For example, in the early scenes of volume II where Vladek is describing his arrival at Auschwitz, Vladek’s figure isn’t highlighted among everyone else around him, as it typically is. Therefore, he is just one person surrounded by a sea of others, all of which are drawn with panicked and terrified facial expressions. This not only highlights the intense fear and horror that this situation contained for so many, but it also connects Vladek’s story back to the Holocaust at large, and all of those whose stories won't be told in the years following. This therefore highlights the magnitude of the Holocaust, and also paints a picture of how those who experienced it were feeling, which I think is effective in conveying the emotional weight of the Holocaust.

In addition to this, I also feel that the comic form adds a uniqueness to the storytelling that also plays a role in conveying the emotional and historical weight of the Holocaust. A great example of this is highlighted in “The Shadow of Past Time: History and Graphic Representation in Maus,” which points out the scene in which Vladek is telling the story while riding his stationary bike. Vladek’s figure is split up among the different panels in the page, which is interwoven within his stories of the Holocaust. This shows how the past has become intertwined with the present, and how despite the fact that many years have passed, the Holocaust will always continue to have a lasting impact on the survivors and those around them. I think that this creative and indirect way of portraying Vladek’s story is something that could only be captured in comic form, which shows the value of this medium.

Therefore, I think that despite how unconventional it is, the comic form does a really great job of portraying the Holocaust’s emotional and historical weight as it paints an accurate picture of each scene that may not have been done so well in just words, and it allows for more forms of storytelling than just through the text.

Post your response here.

I agree with my peer here in the sense that I think that artistic expressions can be far more compelling and real in attempting to express emotion than words can in a situation like this. The combination of the two can be extremely moving, as it was at certain moments in Maus. However, I would say that the genius of Speigelman’s use of the comic form was not in that it was intended to properly convey the pain and trauma and general emotion of the holocaust and the effects thereafter, but that it was an admittance of any work of art’s - written or illustrated - ability to do so.

I most definitely agree with the point about the uniqueness of the delivery. I said a similar thing in my post - those who would confine the pain and emotion of the holocaust to one form of expression limit knowledge of it vastly. It is harmful to others and ignorant of them. Like I said before, some pain is simply inexpressable, and no human who did not live through it would be able to understand it, much less see it or feel it. But attempts can and should be made, if not to make others understand then at least to educate them.

Originally posted by wrox797 on February 03, 2026 10:21

Showing someone a story instead of simply telling them can be way more effective than a typical story. Art Spiegelman’s Maus is no exception to this concept. Not only does he use comics, he portrays the animals as mice rather than humans. Using this format, he is more easily able to transition between the current day and the stories of his father’s past. Everything is visually more connected, which highlights how recent the Holocaust is for the people involved and their children.

Spiegelman is also able to use his drawings to symbolize the rough relationship with his father and how the Holocaust impacted that. For example, in Maus I on page 6, the last panel shows Vladek and Art in a very large, empty room. This is one of the first times we see him and his father as well, and the vast emptiness displays how distant Vladek and his son are from each other. This is well due to the Holocaust, and how Vladek never truly recovered. Art is able to use imagery in this format, which adds complexity to the story and a story as large and horrible as the Holocaust could definitely use this kind of format.

There is also something to be said about visualizing terrible events rather than being told about them. For example, on page 63 there is a panel where the Nazis execute war prisoners in the forest and leave the bodies to rot. Being told something like this is no doubt emotional, but actually seeing the prisoners defenseless, on their knees with their hands behind their head and then slumped over in the pit is much more effective at getting the reader to feel certain emotions.

Some argue that this style of writing is too “childish” or reduces the impact of the Holocaust. They say that this period of time is too serious to represent it through a comic strip. This idea comes from the fact that generally unimportant pieces of work, such as comics, implement the same types of design that Spiegelman did. However, just because it is common in children’s work does not mean that it cannot be used effectively in order to convey other ideas

I disagree with some of this person's comments. I believe that the comic takes away from the power, and the animals also take away as they dehumanize the real humans who suffered. The animals disconnect the reader from the recency of this event as well. However, I do agree with my peer about the power of the imagery of the Nazi’s executing the defenseless Jewish community in one scene. Overall, my peer made a fair argument, but I just do not agree. Yes, everyone is different, but I do not believe that a comic would genuinely have a greater impact on a human than a movie or a real conversation with a survivor. Additionally, I would suggest that this peer uses more evidence to further prove that this comic captured the severity of this persons holocaust story. There could have been evidence pulled from the article, as well as more moments from the comic. I think this peer could have gone more in-depth to argue their point more powerfully. Lastly, I was confused when I read “everything is visually more connected, which highlights how recent the Holocaust is for the people involved and their children,” and I do not understand this point; it could be improved on.