I love this chapter. Those charts really pull this thing together. When you look at a comic as action to action or movement to movement... if you can see that, then you are probably more intouch with your sense of vision than most. The chapter points out that much is required from the reader to fill in the blanks left when the picture ends and the new one begins. This book is written as a comic, but it teaches like a text book. I wonder if there is a way for us to create text books that felt like reading comics for those students who are more visual learners. I wonder how well I would have done in elementary school if I had read text books that were designed for me. But that is off the topic. In my own comic books, I have a pretty good mix of the first five types of transition. I've gone through all of my comics and seen where my patterns lie. I've just started working with movement to movement about a year ago and I like what the results have been so far. As far as aspect to aspect, I've done a few scenes in my later works where I focus merely on the surroundings for impact. Not as much as I should because I believe that in order to tell any story, you have to use all of these elements in one comic. Though some of the best comics I've ever read don't. So maybe there is an issue with flow. If you are trying to create a certain flow, then you should choose from these six different exchanges the ones that meet the needs of the flow. Scott's third "book" Making Comics, goes in depth about this. I'm reading that now.