Comics, as they established their language in the early 1900s, solved the problems of sequential narration in image and word in ways that appeal to deep human cognitive preferences. In modern comics each frame tends to create a single impression that can be taken in at a glance and a situation either visually explicit in instant icons or immediately clarified by prominent speech balloons. The sequence from frame to frame usually allows a brisk clear flow of attention and low-cost comprehension. Search time can be reduced to a second or two.Verse around the world uses controlled phrase lengths that in written form become line lengths, whereby poets shape the attention of their audience, releasing just as much at a time as our audi tory present and the storage space of working memory can hold (Turner). In the same way, comics concentrate and reward comprehension within the clearly delineated attention-sized units of the single simplified comic frame, without the superfluous detail or distracting multiple foci of Outcault’s panoramas.

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