In Chapter 2, I must agree with McCloud when he states that "the sorts of images we usually call symbols are one category of icon." Everytime we see an icon or symbol, by just looking at this, we can automatically assume that we know what is being said. We could probably say one whole sentence with just one symbol. Do we really know what is being said? As McCloud explains, seeing a flag of the United States does not mean it is a country, or if we see a picture of a cow, that doesn't mean it is a cow. I know that everytime my daughter goes to WalMart, if she sees a picture of a women figure, she automatically knows that is a women's restroom. But it is not really the restroom.
McCloud askes the question, "why are we so involved," in cartoon figures more than realistic images. Well, when looking at comics, it seems as though it is just nature to see a cartoon drawing than it is to think of a comic looking at realistic images. It is much easier to use our imagination when looking at cartoons, than it is when looking a real images. If I look at a real image, it almost seems more serious, as though we already know what is going to happen, or what just happened. But when looking at a cartoon image, our mind can kind of wonder what is going to happen, or what just happened. The expression on a cartoon drawing is more imaginative than that of a real picture of a person, especially if there is much detail to the picture.
In Chapter 3, if readers can use the moment-moment, action-action, scene-scene, aspect-aspect, and non-sequiter, the comic may be easier to follow. Following the different sequences can explain more about the comic, than just reading on and on, with nothing really to follow. I like the idea McCloud has on pages 84-85. I agree when he states, "we assume as readers that we will know what order to read panels in," I myself have opened comics and sometimes find myself confused in not knowing if I am reading in the right order or not. I have had to read one page 2 times to make sure I am following correctly. The examples McCloud gives on "Here's a Story," makes a lot of sense. The creator can have a full page of panels for 1 part of a story, or have 1/2 a page of panels by shortening the story or sequence. I find it hard to keep up with the story, whether reading it or even in a real life situation when there is much more information put out there, versus getting straight to the point.
As I read on, I find it amusing that the points McCloud is using for "Understanding Comics," are somewhat the same points we use in everyday life to interpret everyday situations, i.e., a picture of a hamburger might let us know that there is a restaurant around the corner, but not that the picture is a hamburger.