The primary component of manga storytelling is what goes on within the borders of a single panel. To use a ﬁ lm analogy, you’re acting as the cinematographer. The cinematographer chooses camera shots, framing, angle and lighting. In other words, what happens in a single manga panel. The director then uses these elements to tell his or her story effectively-from one panel to another, which we’ll talk about in Chapter 11. The analogy doesn’t ﬁ t exactly, sure, but it works for our purposes. Using the same terminology that ﬁ lm does also makes it easy to communicate, even if there isn’t any camera. We’re going to ﬁ rst put on that cinematography hat and discuss the choices you can make within a panel, and why you should make those choices.