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| Acknowledgments | |
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| Theory and History | |
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| What Comics Are and What They Aren't | |
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| Auteurs, the History of Art Comics, and How to Look at Ugly Drawings | |
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| What's Good About Bad Comics and What's Bad About Good Comics | |
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| Superheroes and Superreaders | |
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| Pictures, Words, and the Space Between Them | |
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| Reviews and Commentary | |
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| A Small Disclaimer | |
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| David B.: The Battle Against the Real World | |
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| Chester Brown: The Outsider | |
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| Steve Ditko: A Is A | |
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| Will Eisner and Frank Miller: The Raconteurs | |
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| Gilbert Hernandez: Spiraling into the System | |
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| Jaime Hernandez: Mad Love | |
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| Craig Thompson and James Kochalka: Craft Versus Cuteness | |
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| Hope Larson: The Cartography of Joy | |
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| Carla Speed McNeil: Shape-Changing Demons, Birth-Yurts, and Robot Secretaries | |
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| Alan Moore: The House of the Magus | |
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| Grant Morrison: The Invisible King | |
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| Dave Sim: Aardvark Politick | |
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| The Dark Mirrors of Jim Starlin's Warlock | |
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| Tomb of Dracula: The Cheap, Strong Stuff | |
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| Kevin Huizenga: Visions from the Enchanted Gas Station | |
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| Charles Burns and Art Spiegelman: Draw Yourself Raw | |
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| Why Does Chris Ware Hate Fun? | |
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| Alison Bechdel: Reframing Memory | |
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| Afterword: The Rough Wave and the Smooth Wave | |
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| Notes | |
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| Index | |
