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A single comic strip may appear in numerous variations; there is a "full" version, to appear at a given size, which may have parts eliminated, be shrunk, or have the panels cut up and re-arranged. Expendable parts may include a topper (a small separate comic strip, no longer used in mainstream comics), "throwaway" panels (a short throw-away gag ...
Impressionistic backgrounds are common, as are sequences in which the panel shows details of the setting rather than the characters. Panels and pages are typically read from right to left, consistent with traditional Japanese writing. Iconographic conventions in manga are sometimes called manpu (漫符, manga effects) [D 1] (or mampu [D 2]).
Enhanced preloading enabled later authors to adopt a vertical layout with scrolling. In contrast to comics with a dense panel composition, scrolling brings new panels into view. This makes webtoons suitable for gradual and continuous representation, allowing webtoon reading to become more fluid. [15]
For example, in 1930, Russ Westover drew his Tillie the Toiler Sunday page at a size of 17" × 37". [26] In 1937, the cartoonist Dudley Fisher launched the innovative Right Around Home, drawn as a huge single panel filling an entire Sunday page. Full-page strips were eventually replaced by strips half that size.
A page may have one or many panels, and panels are frequently, but not always, [6] surrounded by a border or outline, [8] whose shape can be altered to indicate emotion, tension or flashback sequences. [9] The size, shape and style of a panel, as well as the placement of figures and speech balloons inside it, affect the timing or pacing of a ...
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The size, shape, and arrangement of panels each affect the timing and pacing of the narrative. [134] The contents of a panel may be asynchronous, with events depicted in the same image not necessarily occurring at the same time. [135] A caption (the yellow box) gives the narrator a voice. The characters' dialogue appears in speech balloons. The ...