Chapter 3 and 4 in Scott McCloud’s book gives an in-depth look into the value of what comics do for the reader and their mental processes. Such as his idea of a day dream that the whole world was created for him and if he is not looking at it does it doesn't exist. Same if you are looking at a comic and you only see the top half of the cartoon and but you don’t see their legs you assume they are there even though they’re not. When we are kids the peek-a-boo trick is unknown to us because we are unable to commit to an act of faith. We can’t act on an act of faith because when we are so young because we can’t see it, hear it, smell it, taste it or touch it, we think it isn’t there. The idea of observenig parts of something and picturing the whole of something is the closure. Such as a panel of a guy in different walking positions even though we only see the positions our minds use closure to picture the man fully walking rather than just sections of him walking. This is why comics is closure because our minds have to work together to picture it.
In comics there are six different types of translations from panel to panel to help the act of closure. First being moment-to-moment needing very little help of closure cause it shows reaction right after in each panel. Second being action-to-action showing the first action to second action to tell a story and this is the most commonly used in America. Next is subject-to-subject such as a man about to kill someone then shows the sky with the scream written out. Fourth is scene-to-scene which is a significant distance of time and space such as he could not survive the crash then meanwhile in another place. Next as aspect-to-aspect such as you think of Christmas atomically thinks of Santa Clause. Last being non-sequential being everything is random but serves a purpose at the end. He shows how cultures differ in the aspects of writing comics such as Japan on a more moment state and use being about getting there. That’s why we all explore the less you put in a panel the more your reader can use their imagination.
A single panel can represent more than one moment in time such as a scene taking in order through that one panel cause time in a comic moves left to right. One thing that helps with the value of time going across a comic is the size of the panel can make time go longer or shorter. Or for another instance more space between the two panels can cause a greater pause. But if there is no boarder on the panel or runs of the page it goes into a timeless fashion depending on your on state of mind. Such as when your eye is on a panel it always remembers the past and sees the future because the eye is always changing direction. Most try to influence motion in the comic by the lines to represent motion or move it from panel to panel. But such as the single panel you can show motion from panel to panel on a single background.
Over these two chapters we have learned the use of motion in panels and the time that it takes to go over the panels. I believe that the use of the panels is the most important part about a comic because it is the one thing in a comic that controls everything. So in both of this chapters over all the examples it always leads back to the panels they are the wholly grail of comics.