He also occasionally makes use of rebus, conveying information without quite relying entirely on either pictures or words. Though "He Done Her Wrong" did not become a major hit when it was published, it is now considered a significant early work in long-form comics. Gross wrote it partially as a response to the wordless woodcut novels of the time, (such as those of Lynd Ward or Frans Masereel) lampooning the high-artistic style and intentionally ambiguous messages of these wordless novels and presenting a traditional narrative in a similar format. Despite this, "He Done Her Wrong" still contains hints of the tense drama present in Ward's novels. Gross's wordless novel notably influenced later comics works in important ways. His simplistic art style in "He Done Her Wrong", while perhaps not as striking as the contemporary woodcut works that influenced it, nonetheless succeeds in producing recognizable characters without identifying them by name. Additionally, despite its length (nearly 300 pages), the action unfolds at a satisfying rate. Later comics works, especially graphic novels, often rely heavily on specific orientation of panels to achieve a desired effect or style of reading, a technique which is visible in the fluid and progressive layout of "He Done Her Wrong". Gross also displays an impressive understanding of narrative progress, with each illustration following the last in a concise but comprehensible manner, avoiding long stretches of narrative time between panels, which could risk losing the reader's attention or understanding. Notably, Osamu Tezuka who is considered to be Japan's "God of Comics", was highly influenced by "He Done Her Wrong" when developing his own "cinematic" style of comics storytelling, especially in the frequent use of silent panels. "He Done Her Wrong" can be viewed along with Gross's other works as a valuable contribution to Jewish popular literature. Though lacking the Yiddish-inflected dialogue that made Gross famous in his comic strips, his self-described "Great American Novel" still draws heavily from Gross's particular brand of comedy, strongly rooted in the Yiddish tradition.