Nick Sousanis, Unflattening, 2015: 58 (page detail). © Harvard University Press.

Nick Sousanis, Unflattening, 2015: 58 (page detail). © Harvard University Press.

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This article presents a discussion about some of the main theoretical approaches of the assemblage of panels on the page and the double page, arguing that the correspondences between the images on the page are not fundamentally linear. On the contrary, comics foster readings that can be holistic, multidirectional and multilinear. Moreover, the corr...

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... work, which uses a different layout for every page, makes use of various visual metaphors to express this contrast. An example of such contrast can be found when text-based thinking is represented by dominoes advancing in a single direction and visual thinking is depicted by the simultaneous relationship of planets in space (2015; Figure 1). ...

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... As the eye can wander on the map, building imaginary routes so it can also do so on the comics page, violating the 'Z-Path' (left to right, top to bottom) [5,11] in favour of erratic paths [17] as it happens for infographics [12]. In fact, comics, through the multi-vectorial (or 'multiorder') narrative skills typical of its page layout, overcomes the sequentiality to open up also to synchronic spatial and temporal narratives [6]. Furthermore, comics and maps can work together to create new paths within a space that is both narrative and geographic [16]. ...
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