Louder Than Words: Shaun Tan’s “The Arrival” Deserves a Spot on Your Bookshelf
It came in a care package from my brother and his wife. The alien-looking creature on the cover piqued my interest, but I was not prepared for the impending waterworks. Maybe the tissues nestled between the wool socks and the coffee beans should have tipped me off.
Shaun Tan’s artwork is nothing short of breathtaking, but the first thing I noticed about The Arrival was what it lacked: words. I’ve always admired the finesse with which graphic novelists cram enormous ideas into limited spaces, but this is the first story I’ve ‘read’ that relies entirely on images.
In brief, the work follows a man who flees his country to establish a better life for his family. The threat looming over his city of origin is depicted as a shadowy, dragon-like creature.
We travel alongside the unnamed protagonist, sharing in his confusion and curiosity as he struggles to make his way in a new land.
Perhaps my sensitivity towards this book comes from the fact that my own parents are immigrants, but with or without this bias, Tan’s visual storytelling is magnetic for several reasons.
- Meaning in the Minutiae
The tale begins with a series of nine images: an origami bird, a clock, a hanging hat, a pot, a child’s drawing, a cracked teapot, a cracked teacup, the corner of a suitcase, and a family portrait.
Out of these objects, only the portrait makes its way into his suitcase — the first action that takes place is a set of hands packing it. This nods to the fact that our hero is leaving everything he knows behind in order to preserve and protect his family.
From the start in Tan’s work, such details propel the story. Facial expressions, hand movements, and even shifts in lighting carry a significant amount of the book’s communication. Recurring images, such as the origami bird, thread pieces of the story together from start to finish. I won’t spoil the ending, but it’s worth noting that the nine opening images are revisited at the story’s conclusion. This plot is driven by subtleties rather than large, action-driven leaps, and this is one of the most refreshing aspects of Tan’s approach.
2. Zoom In, Zoom Out
Tan frequently plays with shifting perspective to communicate the idea that this particular story is important, although it is only one of many similar, equally important immigrant stories. For instance, take a look at this series of images:
We begin with the protagonist’s perspective: the family portrait. We zoom out and see the protagonist framed by the window. We then realize that the protagonist’s window is only one among a multitude of seemingly identical windows on the ship.
These shifts highlight the importance of individual stories, which are often lost in a sea of other stories. They also offer a mirror truth: As important as this life experience is, it is only a drop in the bucket of important life experiences.
3. Audience Empathy
The protagonist is clouded by confusion as he comes to grips with a new language, culture, and lifestyle. We, as the audience, are placed in a position of simultaneous observation and empathy.
This new world is as confusing and alien to us as it is to our protagonist — not only do we understand his confusion, we experience it alongside him. The story holds a certain gravity that tethers its audience to the plot; its difficult moments bear a tangible density. The recurring hospitality of strangers offers an equal and opposite brightness.
4. Impactful Single Frames
The sharpest moments in this story come from intricate single frames that communicate extreme joy or sorrow. Take, for instance, this image of a veteran returning to his obliterated village:
The frame is a complete standstill, and the desolation is almost tangible. Tan frequently uses movement, or lack thereof, to convey complex emotional tones in these single-panel images. Take, by contrast, the meal our protagonist enjoys with a local family:
This single-panel image is full of activity and life. Everything still feels alien, but threads of human familiarity create a clear bond between the characters. The confusion of a new cultural setting is not intimidating or frightening here; instead, it is exciting.
A comprehensive analysis of the visual elements utilized in “The Arrival” could easily fill several books triple its size, so I will let you discover the rest for yourself. The next time you have a few hours to spare, consider getting lost with our silent protagonist for awhile.
Bibliography
- https://www.shauntan.net/arrival-book
- Tan, Shaun. The Arrival. South Melbourne, Vic: Lothian Books, 2006. Print.
