Abstract
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 correspondences between images through the pages of the whole book are also relevant. The book form, often disregarded by the critics, actually plays a very important role in the way comics are read and favour a reading that is translinear. Finally, some works are even breaking with the codex as a format, suggesting new ways of reading and engaging with the comics form. In order to illustrate how all these reading protocols work, this article offers a selection of examples of graphic narratives from different periods, from Winsor McCay to Richard McGuire.
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