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They are able to reach big audiences, and brand-new readers usually can access archived installations. Webcomics can use an unlimited canvasindicating they are not constrained by size or dimensions of a page. Some think about storyboards and wordless books to be comics. Movie studios, particularly in animation, typically utilize series of images as guides for film series.

Wordless novels are books which use series of captionless images to provide a narrative. Comics studies [edit] "Comics ... are in some cases four-legged and sometimes two-legged and often fly and often do not ... to use a metaphor as combined as the medium itself, defining comics requires cutting a Gordian-knotted enigma wrapped in a secret ..." R.

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Harvey, 2001 Comparable to the problems of specifying literature and film, no consensus has been reached on a meaning of the comics medium, and attempted meanings and descriptions have fallen victim to numerous exceptions.  天空漫画  as Tpffer, R.C. Harvey, Will Eisner, David Provider, Alain Rey, and Lawrence Grove emphasize the mix of text and images, though there are popular examples of pantomime comics throughout its history.

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Towards the close of the 20th century, various cultures' discoveries of each other's comics customs, the rediscovery of forgotten early comics kinds, and the rise of new forms made defining comics a more complicated task. European comics studies began with Tpffer's theories of his own work in the 1840s, which emphasized panel transitions and the visualverbal combination.

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Pierre Fresnault-Deruelle then took a semiotics method to the research study of comics, evaluating textimage relations, page-level image relations, and image discontinuities, or what Scott Mc, Cloud later dubbed "closure". In 1987, Henri Vanlier presented the term, or "multiframe", to describe the comics page as a semantic system. By the 1990s, theorists such as Benot Peeters and Thierry Groensteen turned attention to artists' poetic creative choices.

Morgan sees comics as a subset of "" (or "drawn literatures"). French theory has come to offer unique attention to the page, in distinction from American theories such as Mc, Cloud's which concentrate on panel-to-panel transitions. In the mid-2000s, Neil Cohn started analyzing how comics are comprehended utilizing tools from cognitive science, extending beyond theory by utilizing actual psychological and neuroscience experiments.