Personalization stands out to me through chapter 2. McCloud emphasizes how removing physical details of a figure allows the reader to insert their own emotions and beliefs into a scene or character. Concepts, rather than set-in-stone truths become more explorable through the simplicity of a cartoon strip. By doing this, the audience can identify more with the characters and insert themselves into the more detailed scenery/ plotline. As we mentioned in class, there is a difference between art and design, and I contend that intention is a part of that. McCloud investigates how cartoon authors do utilize our subconscious to draw us in and allow for that personalization. It’s not a simplified version of a person just for aesthetic; clear intentions to immerse readers in a personalized experience exists.

Chapter 5’s main point on line thickness also conveys a deeper truth about our psychological connection to a plotline / character. If asked whether I thought a thick line reminded me of a horror character, I would say no. However, when shown Dick Tracy or Spiegelman’s character, I do connect the thick dark lines to a more sinister event. It’s the artists’ ways of engaging our subconscious that allow the success of the story. Similarly, I wouldn’t have initially believed that jagged and more “scary” lines would connect to an older crowd. However, Marvel’s shift in line architecture to cater to their more mature customers reveals just how prevalent marketing is. By shifting the style of the exact same artistic medium (lines), a company understood how to better connect to their readers and sell their success.