This poetic broadside shows a lot of what Kyle Schlesinger describes in his article as full immersion. The text is purposefully made small, and it is put within the shapes that make up the city skyline in the broadside, rather than somewhere outside of it. The text itself is very small scale-wise, and set on a baseline instead of dispersed across the entire canvas. There is no difference in size with the lettering, it is all the same letter spacing, making it all look as though it to be read as a whole.

The only overlapping occurs with the text and the imagery. The text itself does not overlap itself. Instead, it is set inside of the gray city image, making it feel immersed in the image rather than a separate thing from it. This piece seems to evoke no sense of chaos or disorder. Rather the imagery and the way the words are displayed make it seem like a quieter poem, with a very vertical display that makes the viewers eyes travel directly down instead of to many different places. The text is straight just like the buildings it’s being put inside of, rather than wobbly and in contrast with the imagery around it, making everything feel very uniform and complementary. The imagery does not cover the entire space of the canvas either. It is tucked towards the bottom as well as the text, making it seem even smaller than it already is.