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It is sometimes argued that these early sequential images are too easily interpreted as "pre-cinema" by minds accustomed to film, comic books and other modern sequential images, while it is uncertain that the creators of these images envisioned anything like it.

Early examples of attempts to capture the phenomenon of motion into a still drawing can be found in paleolithic cave paintings, where animals are often depicted with multiple legs in superimposed positions.

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However, it's very unlikely that these images were intended to be somehow viewed as an animation.

It is possible to imagine technology that could have been used in the periods of their creation, but no conclusive evidence in artifacts or descriptions have been found.

One encircled sketch depicts Death raising his arm from his toes to his head, another shows him moving his right arm up and down from his elbow and yet another taking his skull off his neck and placing it back. Techniques to add motion to painted glass slides for the magic lantern were described since circa 1700.

These usually involved parts (for instance limbs) painted on one or more extra pieces of glass moved by hand or small mechanisms across a stationary slide which showed the rest of the picture.

His heirs continued until their theatre closed in 1870.

Séraphin developed the use of clockwork mechanisms to automate the show.

The sequence shows multiple angles of the figure as it rotates and the arm extends.

Because the drawings show only small changes from one image to the next, together they imply the movement of a single figure.

The medieval codex Sigenot (circa 1470) has sequential illuminations with relatively short intervals between different phases of action.

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