During the fight scenes, NofNA may appear as a soup of action instead of a distinct image. The hard-edged, pixelated nature of aliased art does not help to make things more clear; human vision is not built to discern quick motion from high contrasts.
Speeding objects create a blur under normal visual processing. But these images are crisp. There may be some dissonance when the brain tries to resolve what is going on.
Because of this, I’ve thought of putting words to a couple of tips that I use when resolving action.
The first tip, is to spend no more than a second “reading” each panel. Blaze through the entire page and the brain will automatically work to stitch together what’s just been seen. When the processing piles up on itself–adding an element of “duration” to each panel–the sequence will make sense as a whole. It will animate itself. Currently, NofNA is designed to be read very quickly. This is why fight scenes endure for many pages: they will occur historically at the same speed it takes to read them.
The second tip, is to slow down and carefully analyze what is going on. This is as simple as thinking about the immediate past, present, and future: The preceding panel, the current panel, and the anteceding panel. An internal monologue is a great help in making out a particularly difficult image. “What body parts are where? What’s contacting? What seems to be in motion? Is there any debris? Is this a special effect? Is the character making use of some odd visual apparatus? What’s this mean? What’s this doing?” Simply stating the obvious can reveal new things about the image seen… and not only in the context of this website.