Looking back, the moral panic that precipitated the decimation of horror comics in the 1950s seems quaint, yet concerns about the psychological impact of violent media on consumers have never disappeared. In this article, I outline a particular type of psychological impact we ought to take seriously when evaluating the moral status of entertainment. I then consider (a) ways in which comics seem immune from claims that they create this kind of impact for their readers, as well as (b) ways in which we might think that comics generate special instances of moral danger for readers.

On the report model of appreciating fiction, one imagines learning about a fictional world through a report: reading or viewing someone’s account or listening to them tell their story. On the transparency model, one simply imagines the things that are fictional in the story, without imagining anything about how that information is acquired. It is argued that the transparency model is the default, in literature and cinema, but in comics, it is the report model that is the default.

We develop and defend a novel interpretation of mainstream Marvel Comics—an interpretation we call the Fictional Journalism Interpretation. We then show how this interpretation of Marvel comics (i) challenges standard accounts of the manner in which fictional truths are generated by fictions and (ii) provides us with novel, interesting, and in some cases simpler explanations of, and understandings of, phenomena within these comics that are hard to deal with adequately on more traditional accounts, including both contradictions in the fiction and various metafictional storytelling strategies. We conclude by defending the view from a number of objections.

Comics are one of the paradigmatic forms of hybrid media, and coming up with a satisfactory definition for it has been difficult. Cowling, S. & Wesley D. C. (2022) take a functional approach and offer an Intentional Picture-Reading View which defines comics as something that is “aptly intended to be picture-read.” I show that the view is extensionally inadequate as is because formally ambitious prose and concrete poetry, too, are aptly intended to be picture-read. The way forward, I argue, is to look at more medium-specific non-depictive images (such as speech balloons and panels) to set comics apart from other hybrid media.

Depicting transgender persons in comics without falling into visual caricature and thereby perpetuating harmful stereotypes can be a delicate task. In this discussion, I draw upon the notion of picture-reading to argue that, despite this fact, comics as a medium is particularly well-suited—both formally and in terms of production-relevant factors—toward capturing and communicating the complexities of transgender experience.

Comics can be ordered in a range of ways, most overtly by issue number for works within a series, and by page number for pages within works. The internal elements of a comic can also be ordered by formal details found within pages. We identify four kinds of formal details specific to comics pages or two-page spreads: how their elements are arranged, how they are viewed, what events they represent, and when information about those events is presented.

In Helen Bannerman’s Little Black Sambo, the text describes its main character as witty, brave, and resourceful. The drawings of the story’s main character which accompany this text, however, present a unique kind of harm that only becomes clear when the work is read as a collection of single-panel comics rather than an illustrated book. In this chapter, I show what happens when we read drawings in books as textless comics, and, based on how things turn out from this reading, motivate why we have some substantive reason to read both Little Black Sambo and other books with drawings-as-comics.

Fictional realism is the view that creatures of fiction exist. Mythical realism is the view that creatures of myth and mistaken theories exist. Call the combined view “Ecumenical Realism.” We critically evaluate three arguments for Ecumenical Realism and argue they are unsound because fictional storytelling differs from mistaken theorizing in important ways. We think these considerations support a more conservative view, “Sectarian Realism,” which results from subtracting “creatures of mistaken theorizing” from Ecumenical Realism. We close by considering an important challenge to Sectarian Realism involving immigrants in fiction.

Genetically complete yet authorless artworks seem possible, yet it is hard to understand how they might really be possible. A natural way to try to resolve this puzzle is by constructing an account of artwork completion on the model of accounts of artwork meaning that are compatible with meaningful yet authorless artworks. However, I argue that such an account of artwork completion is implausible. Therefore, I leave the puzzle unresolved.

In this paper, I consider a peculiar feature of the aesthetics of collecting comics: collecting to complete a narrative. Unlike other forms of narrative engagement, comics are often read out of narrative sequence, and so collectors hunt for missing issues to fill in an incomplete story, leading to a “gappy” experience of the narrative. This “gappy” experience, I argue, has its own aesthetic quality and value, and I connect my analysis of the experience to both classical Kantian aesthetics and contemporary neuropsychology.

Many comics are aesthetically trashy: They are immediately grasped and easily available. Historically, this trashiness is lobbed as an aesthetic defect of many comics, a defect for both their production and their appreciation. To defend these comics, some point to non-aesthetic values, like sociality. I argue that there is aesthetic value to these comics, and that it lies precisely in their trashy characteristics: their immediacy and availability. Many comics have these characteristics because many comics are cartooned. The immediacy of cartooning is precisely what makes so many ordinary comics beautiful in an ordinary way.

In this article, I argue, adverting to critical practices, that film adaptations are comparable with the comics that serve as their sources. The possibility of comparison presumes the existence of covering values according to which these comparisons are made. I raise four groupings of covering values for comics—narrative, pictorial, historical, and referential—and show how they apply to film adaptations as well, and argue that a fifth kind of value, fidelity, is relevant to comparisons of source comics to film adaptations. I close with a discussion of different types of fidelity that might be brought to bear in evaluation.

I examine Alan Moore and Kevin O’Neill’s adaptation of Margaret Cavendish’s Blazing World in the comic series The League of Extraordinary Gentlemen. I interpret philosophical aspects of Cavendish’s fictional landscape, including her vitalist materialism and naturalized talking animals, as they appear in series The League of Extraordinary Gentlemen, rendered through 3-D images and corresponding 3-D glasses worn by readers. Through this world adaptation, Moore and O’Neill onboard themes of naturalness, experimentation, technology-aided perceptual processes, and travel to intersecting worlds to enhance The League of Extraordinary Gentlemen’s commentary on the formative influence of fiction on authors and audiences.

Roderick Chisholm (1916–1999) was among the most creative and influential figures in twentieth-century American philosophy. This essay considers how Chisholm’s cartooning contributed to his philosophical charisma.