Original thesis:

We3 utilizes different types of panel-to-panel transitions and the gutters of the panels to convey a
story with a unique visual representation of time.

Revised thesis:
Eisner and McCloud are describing the traditional ways in which graphic novels uses frames and
gutters, and Singer explains how We3 goes beyond the traditional to experiment with these
conventions in order to tell the story from the perspective of the animals.

Original paragraph:
With panels and gutters, you can convey the passage of time and space to the reader.
Singer believes that Morrison and Quitely used gutters and panels to slow down time. Singer
writes, They slow down the pacing, focusing on the most minute details while they dilate the
passage of time even in the midst of violent action scenes (Singer 210). McCloud would agree
with Singer in that Morrison and Quitely portrayed the passage of time very well. McCloud
writes, Comics panels fracture both time and space, offering a jagged staccato rhythm of
unconnected moments (McCloud 67). McCloud explains that the gutters is left to the
imagination and it is what connects the panels actions or story together. Because of gutters, there
needs to be a transition between them. McCloud also explains the different types of transitions
from panel-to-panel, in each the reader sees time and space differently. There is moment-tomoment, action-to-action, subject-to-subject, scene-to-scene, aspect-to-aspect, and non-sequitur.
All of these six transitions, have different passage of time but regardless they all use closure to
connect them.

Revised paragraph:
McCloud explains that the gutters is left to the imagination and it is what connects the panels
actions or story together. Because of gutters, there is a transition between panels. The traditional
use of gutters is just a simple use of imagination by the reader. With panels and gutters, you can
convey the passage of time and space to the reader, although the traditional use of them has no
different passage of time and the space is blank left for the readers imagination. But in We3,
Singer believes that Morrison and Quitely used gutters and panels to slow down time. Singer
writes, They slow down the pacing, focusing on the most minute details while they dilate the
passage of time even in the midst of violent action scenes (Singer 210). McCloud would agree
with Singer in that Morrison and Quitely portrayed the passage of time very different from the
traditional way. McCloud writes, Comics panels fracture both time and space, offering a jagged
staccato rhythm of unconnected moments (McCloud 67). McCloud explains that the panels can
break time and space, leaving scenes that are not connected because of the gutters in between
them. McCloud also explains the different types of transitions from panel-to-panel, in each the
reader sees time and space differently. There is moment-to-moment, action-to-action, subject-tosubject, scene-to-scene, aspect-to-aspect, and non-sequitur. All of these six transitions, have
different passage of time but regardless they all use closure to connect them.