the publication was designed to be read from right to left, in order to preserve the orientation of the japanese media from which it draws inspiration (Chapter 427 of 'One Piece' by Eiichiro Oda). each section examines particular aspects of the source material's visual language and attempts to find new ways to depict it.

while there are thousands of manga artists, they all generally make use of the same system – this consists of various symbols and other visual elements which are used to communicate particular meanings to the reader. chapter 1's illustrations were created by breaking down this system, finding alternative means to represent each facet of it, and reproducing the chapter using the overhauled framework.

type size, as well as the shape of the letterforms allow the reader to identify the volume and intensity of the sound effects or dialogue being communicated (in the case of dialogue, tone of voice is also a factor – the shape of the speech bubble the type is set in also becomes another variable). chapter 2 primarily focuses on highlighting the ways type is differentiated, using grids that were created by simplifying the panel arrangements of each spread from the source material.

scenes are often depicted at a range of angles across multiple panels, in order to look more cinematic and make the world portrayed feel more tangible. this is even more so the case with action sequences – the techniques utilized draw the reader in to the point of feeling as if one is present within the scene itself, moving along with it. the Kandinsky-inspired compositions featured in chapter 3 showcase an abstract attempt to capture the same dynamism and motion present in Oda's illustrations.