Understanding Comics presents an interesting take on not only understanding comics themselves but in understanding literature as a whole, be it visual or textual. In defining what comics are at their absolute basic level we find that a sequence of images can illicit worlds of information and have quite interesting implications in their application, notably: is it a temporal sequence being viewed? Or is it something entirely different? McCloud suggests a necessarily chronological basis to comics, which is fair enough. But viewing them as a whole, a collection of images on a page we find that our natural inclination is to associate images along a certain path, be they related thematically or not. These visual assumptions again cloud our reading of more conventional literature and have great implications on some of the new media that has been read thus far in this course, notably with Afternoon wherein each successive screen is very ambiguously related to the one before it but as a more broadly thematical, plot-driven piece the reader can find certain inalienable truths within each screen, connecting each whether they deserve to be or not. McCloud again deconstructs the visual language of comics to such a degree that his musings on hyroglyphics seems to bleed into a discourse on textual media in general, with words associated with other words by what we might deem a sort of correct or correct-sounding commonality. This again comes back to the Jabberwocky Engine very early in the course, where words are created strictly from these rules that McCloud hints at. This discussion, packaged in what can be considered a sort of “base” literary form, leads to a very interesting discourse on language and the language of images. We all ultimately become some form of synaesthete with the appearance of words on the page, and helping to bridge the gap between symbol and text we can better understand the English language.