Art Spiegelman (1986), creator, author, illustrator, interviewer and narrator, uses the medium of comics to narrate the experiences of his parents, Vladek and Anja Spiegelman, Jewish Holocaust survivors. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Jumping back and forth between past and present, Maus: A Survivor's Tale tells two different stories; Vladek's testimony as a Polish Jew during World War II and Spiegelman's (1986) interactions with his father during the interview process. Hillary Chute (2016), in her article, “The Shadow of a Past Time: History and Graphic Representation in Maus”, justifies the ability of comics to represent history, through an analysis of Spiegelmans' (1986) graphic narrative. Chute (2016) highlights how the form of Maus, using language, ideas and concepts, can narrate the past through the comics page. The way a story is told, from a visual perspective, has a significant impact on how an audience understands the content. Comics defined by Scott McCloud (1993) in Understanding Comics are “pictorial and other images juxtaposed in a deliberate sequence, intended to convey information and/or produce an aesthetic response in the viewer.” The message behind a comic is not just in the content but in the design of the page. Art Spiegelman (1986) successfully intertwines the past and present in Maus through visual narrative and formal characteristics using the medium of comics. Nothing is simply inked on paper; every literary style attempts to make the visible invisible. The medium of comics does this extraordinarily well. The authors are able to juxtapose images from various temporal narratives; present several moments in time in the space of one page. Time is separated by individual frames; dividing panel by panel. The explanation of what happens between panels is described by McCloud (1993) as closure. Spiegelman (1986) uses closure on every single page of Maus, most transitions occur from scene to scene (different characters and different scenes). A clear example of closure in the transition from subject to subject can be found on page twelve of Maus: Vladek takes Artie to his old room so he can cycle, Artie asks his father about his time in Poland and the war, Vladek begins to tell his story. Initially only static images, unified in a continuous reality. In his article, Chute (2016) analyzes this same page, noting the panel stretched to mid-horizontal, the eliminated gutter (space between panels), and its implication of stillness. Also, noting the relationship between this panel, where Vladek first mentions his history, and the literal overlap it has with the iris panel below that presents the past first. Spiegelman (1986) is intentional in his use of panel shapes and page layout, attempting to influence our interpretation of the progression of time. Personally I notice that the writings on this page are significant in the visual narrative of Maus; the top of the first panel contrasts with the room's black and white, and a bordered text of Artie's narrator's commentary is presented in tiny type. Spiegelman (1986) could have bordered the text at the top of the panel, written it in the gutter or in consistent capital letters. I think he chooses to illustrate his narrative as if it were concurrent with the story, wanting to be in time, a part of that moment, moving with the same/10.1080/02560046.2015.1059550)