Since the middle of the 20th century, manga and TV anime have developed in parallel, borrowing from one another on practically every level from narrative content to expressive devices. Their productive exchange on the level of style has been facilitated by their shared material basis, the line drawing. This material homology could even blur the boundary between the static and the animated image, with anime borrowing and reproducing the dynamism of manga drawings. At the same time, movement inherent in the drawing and movement of the drawing are both intrinsically bound to the graphic style. This chapter addresses the relation between the movement of the anime and manga image and certain stylistic parameters (such as iconic abstraction, visual density, and quality of the line), providing a new vantage point on aesthetic and material connections between the two media forms, as well as on the ongoing evolution of TV anime.

There are many difficulties in presenting data to the best advantage, using Figures, Tables, images, schemas, etc. Issues such as size, amount of data being included, optimal layout for ease of reading, and other problems are covered. Units, scale bars, statistical indicators, significance and a host of other matters are discussed. The place to present data is considered, i.e. whether some of the slightly less relevant findings or methods should go into 'Supplementary Information'.

The Conclusion uses Karl N. Llewellyn’s“What Price Contract? – An Essay in Perspective” to bring together many of the dominant themes discussed in the book. For three-dimensional law to arise legal scholars must be more refined in their perception of ideas – civilized growth, in Holmes’s view, depended on that. Holmes’s sensitivity to multivalency becomes then the leading goal of a well-wrought legal pedagogy. The more law could muster feeling, the more civilized the nation would grow. At least that was Holmes’s hope as he expressed it to Harold J. Laski.