On page 4, the narration shifts both verbally and perceptually to another ‘character’, the headquarters’ security system. Then, on page 5, the character we have been following the first three pages is finally named and visualised by this system: it is the Trapster, a classic Fantastic Four foe (readers familiar with the substantial Fantastic Four mythology might have recognised the character earlier because of his trademark ‘paste-gun’). In the first panel of page 8, the Trapster is hit with the electrical charge of a secured lock. Here, the word box takes another colour (orange) and the letters inside are much larger and bolder than before. These devices magnify the effect of the exclamation. The word itself; ‘YEOW!’, is another attempt at being as direct as possible. In the first panel of page 11, the Trapster makes his first comment in a speech balloon (which does have a tail, pointing to the centre of the image), affirming that the other comments were really internal (and not muttered by the Trapster to himself).

Beginning on page 4, the Trapster’s images are interchanged with images we can not attribute to him. These images clearly have another perceptual point of view, since we see the Trapster from another position, but we will discuss the shift in visuals in the second chapter. Relevant now is that these images are also accompanied by word boxes, and the words there can also no longer be attributed to the Trapster. The letters have a different typeface, and are preceded by two meaningless symbols. The typewriter-like, angular letters look more mechanical, showing us how typeface and the supposed source of the words can be linked. The sentences are ‘mechanized’ accordingly linguistically. The computer system’s comments are mostly fragments, like ‘STAND BY FOR RETINA SCANS’ (page 4, panel 6). Also striking is the fact that the word boxes themselves are (in most cases) black, while the letters are white. This is the inverse of the Trapster’s boxes, contrasting the computer to the human. On page 9, another computer system is introduced in the form of the little robot H.U.B.E.R.T. The fourth panel on this page comes from this robot’s perceptual point of view, as the comments make clear. The word boxes are now coloured yellow, but have the same typeface. Clearly though, this robot addresses the other computer (‘TO CENTRAL’) and it seems more capable of making complete sentences. Playing with typefaces, colour and the form of word boxes clearly opens a wide range of possibilities. While differing typefaces within a story are possible in writing as well, they are hardly ever used. This indicates again that images and written language are closer to each other in comics than in any medium.