| Anderson, Reynaldo. "Critical Afrofuturism: A Case Study in Visual Rhetoric, Sequential Art, and Post-Apocalyptic Black Identity." The Blacker the Ink. Constructions of Black Identity in Comics and Sequential Art. Eds. Frances Gateward and John Jennings. New Brunswick: Rutgers Univ. Press, 2015. 171–92. |
 
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| Carrington, André. "Drawn into Dialogue: Comic Book Culture and the Scene of Controversy in Milestone Media’s Icon." The Blacker the Ink. Constructions of Black Identity in Comics and Sequential Art. Eds. Frances Gateward and John Jennings. New Brunswick: Rutgers Univ. Press, 2015. 153–70. |
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| Davis, Blair. "Bare Chests, Silver Tiaras and Removable Afros: The Visual Design of Black Comic Book Superheroes." The Blacker the Ink. Constructions of Black Identity in Comics and Sequential Art. Eds. Frances Gateward and John Jennings. New Brunswick: Rutgers Univ. Press, 2015. 193–212. |
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| Fisher, Craig. "Provocation Through Polyphony: Kyle Baker’s Nat Turner." The Blacker the Ink. Constructions of Black Identity in Comics and Sequential Art. Eds. Frances Gateward and John Jennings. New Brunswick: Rutgers Univ. Press, 2015. 255–73. |
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| Francis, Conseula. "American Truths: Blackness and the American Superhero." The Blacker the Ink. Constructions of Black Identity in Comics and Sequential Art. Eds. Frances Gateward and John Jennings. New Brunswick: Rutgers Univ. Press, 2015. 137–52. |
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| Goldstein, Nancy. "Fashion in the Funny Papers: Cartoonist Jackie Ormes’s American Look." The Blacker the Ink. Constructions of Black Identity in Comics and Sequential Art. Eds. Frances Gateward and John Jennings. New Brunswick: Rutgers Univ. Press, 2015. 95–116. |
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| McWilliams, Sally. "Sex in Yop City: Ivorian Femininity and Masculinity in Abouet and Oubrerie’s Aya." The Blacker the Ink. Constructions of Black Identity in Comics and Sequential Art. Eds. Frances Gateward and John Jennings. New Brunswick: Rutgers Univ. Press, 2015. 45–62. |
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| Means Coleman, Robin R. and William Lafi Youman. "Graphic Remix: The Lateral Appropriation of Black Nationalism in Aaron McGruder’s The Boondocks." The Blacker the Ink. Constructions of Black Identity in Comics and Sequential Art. Eds. Frances Gateward and John Jennings. New Brunswick: Rutgers Univ. Press, 2015. 117–34. |
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| Nishikawa, Kinohi. "Daddy Cool: Donald Goines’s Visual Novel." The Blacker the Ink. Constructions of Black Identity in Comics and Sequential Art. Eds. Frances Gateward and John Jennings. New Brunswick: Rutgers Univ. Press, 2015. 215–34. |
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| Walter, Patrick F. "A Postcolony in Pieces: Black Faces, White Masks and Queer Potentials in Unknown Soldier." The Blacker the Ink. Constructions of Black Identity in Comics and Sequential Art. Eds. Frances Gateward and John Jennings. New Brunswick: Rutgers Univ. Press, 2015. 63–92. |
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| Wanzo, Rebecca. "It’s a Hero? Black Comics and Satirizing Subjection." The Blacker the Ink. Constructions of Black Identity in Comics and Sequential Art. Eds. Frances Gateward and John Jennings. New Brunswick: Rutgers Univ. Press, 2015. 314–32. |
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| Whitted, Qiana. "The Blues Tragicomic: Constructing the Black Folk Subject in Stagger Lee." The Blacker the Ink. Constructions of Black Identity in Comics and Sequential Art. Eds. Frances Gateward and John Jennings. New Brunswick: Rutgers Univ. Press, 2015. 235–54. |
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| Yezbick, Daniel F. "No Sweat! EC Comics, Cold War Censorship, and the Troublesome Colors of “Judgment Day!”." The Blacker the Ink. Constructions of Black Identity in Comics and Sequential Art. Eds. Frances Gateward and John Jennings. New Brunswick: Rutgers Univ. Press, 2015. 19–44. |
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| Young, Hershini Bhana. "Performance Geography: Making Space in Jeremy Love’s Bayou, Volume 1." The Blacker the Ink. Constructions of Black Identity in Comics and Sequential Art. Eds. Frances Gateward and John Jennings. New Brunswick: Rutgers Univ. Press, 2015. 274–91. |
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| Ziegler, James J. "A Secret History of Miscegenation: Jimmy Corrigan and the Columbian Exposition of 1893." The Blacker the Ink. Constructions of Black Identity in Comics and Sequential Art. Eds. Frances Gateward and John Jennings. New Brunswick: Rutgers Univ. Press, 2015. 292–313. |
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