Persepolis - Breaking the Rules of Narration

Something that I thought about while reading Persepolis was the rule of thirds (as Jamie discussed a couple weeks ago during class on Nimona) regarding how, in the visual form, it's a rule that you don't want to have your character in the middle of a panel as it doesn't feel natural to the narrative form and feels very static rather than dynamic. However, rules are made to be broken and in Satrapi's case she does this well because she already demonstrates an understanding of visual storytelling's conventions.
I noticed this rule breaking in moments when Satrapi's narrator directly addresses the reader. In panels such as the ones in the middle row and bottom left corner of page 114, her younger self narrates and explains the events of the time while walking down the stairs into the basement while also being situated in the middle of the panel much like a portrait. But Mo, you might be thinking, what's so special about these moments? A lot of graphic novels and memoirs have banners at the top or bottom of a panel which does this kind of thing! And i'm so glad you asked because this information isn't being given to us in the form of a banner but rather in speech bubbles of the young Satrapi speaking directly to us the readers. By doing this, she's breaking multiple rules of storytelling such as breaking the fourth wall. What this does, however, is it brings the reader into the narrative and creates that kind of oral storytelling feel which is illustrated throughout the graphic such as with Satrapi's uncle Anoosh who impresses upon her the importance of knowing the "family memory" (60). In this way, Satrapi is using the visual form to it's fullest as, in my opinion, stopping to explain certain aspects of the moment in time would have to be illustrated to the reader differently if this memoir were written in the traditional narrative prose.
This being said, in the moments in which Satrapi broke the rule of thirds and spoke directly to the reader, I didn't feel taken out of the narrative as a reader because she spaced these moments out by episodes in which we are given action and revelation rather than information. In this way, Satrapi is also varying her angle of discovery from that of the child narrator in the moment telling her mother that she's acting like a "guardian of the revolution of this house" (113) to the older narrator looking back and reflecting to better make sense of the events of her childhood.