The parallel grammar of comics and text messages juxtaposed on the page from Sina Grace's graphic memoir, Nothing Lasts Forever, shows the thought bubble and the speech balloon in spontaneous reciprocity (Figure 1). ...Spider-Man simultaneously speaks with Norman Osborn, the Green Goblin, and wonders to himself how to resolve the conflict that his greatest villain is also his best friend's father.1 Though Spider-Man may be famous for his internal conflicts, they were not particular to him, indeed, one need only open any issue of most mainstream comics from before 2000 and will be flooded by images of characters deep in thought, surrounded by as many bubbles as soda pop, and poised for action or an encounter with a new plot element.2 For example, in the image of Storm with her hands elevated, the bubble directs the reader down the page into Storm's feelings as she comes to terms with the loss of her mutant powers and learns to live with herself in this new life (Figure 3). With the popularization of the psychoanalytic treatment in comic books,4 the direct connection to psychoanalytic practice seems obvious because thought, associations and feelings are brought into the room; the plot is dependent upon putting thoughts into words. ...despite the fact that attitudes toward this change in comics style of representation vary from creator to creator, a mere glance at comics of the last few decades demonstrates that contemporary trends have privileged a disembodied narrative voice which describes and determines all internal motivation in boxes above or amidst the comics panel, more prominent now that the thought bubble has all but disappeared. ...while the speech balloon has retained preeminence, revealing character, showing motivation and propelling