In graphic novels, a sense of place is often just as important as the main characters.  In The Death of Stalin, Fabien Nury (writer) and Thierry Robin (artist) had two challenges—they had to establish the cold, Russian winter of 1953, and they had to convey the paranoia that permeated the levels of Soviet society.

How do you convey the paranoia of Soviet society?

The first objective is fairly easy, as a number of iconic landmarks, street scenes or profiles can be used in an establishing panel to illustrate where a story is taking place.  A story set in Egypt, for example, will usually feature a view of a pyramid (and a stubborn camel) early on.  Similarly, a story set in France will showcase either the Eiffel Tower or perhaps a young woman riding a bicycle along a cobblestone road with a baguette and some flowers tossed in a basket. 

As expected in The Death of Stalin, an empty view of Red Square is used to place the story in Moscow.

The second objective, however, requires a bit more storytelling.  Stalin’s brutality is well-known, but how can a writer demonstrate that on the page? In this novel, Nury and Robin accomplish this goal by using a minor character who appears in only the first few pages.

This panel shows the Director of Radio Moscow listening to a live performance happening in the background. There is a clear hierarchy; the director is lounging in a suit, while the engineer is in shirtsleeves and actually performing the labour. The director’s posture and clothing separate him from the minions he oversees. His glasses are impenetrable, and his contempt for everyone around him is clear.

One phone call, however, changes everything…

When Stalin calls, the director’s eyes are suddenly visible, and his posture changes. He’s no longer leaning back, confident in his place at the top of the hierarchy.  He might be more powerful than the orchestra members, but he is considerably less powerful than the dictator he fears. 

As the story progresses over the next few pages, both the director’s predicament and posture worsen.  It’s a clever way for Nury and Robin to create the environment and hierarchies of the Stalinist era.