Chaney investigates the "changing same" of visual self-presentation in African American autobiography, history, biography, and fiction, paying attention to two forms: frontispieces and illustrations of the nineteenth-century ex-fugitive and comics from twenty-first-century African American artists and writers. The bridge between these two zones of history is not to be erected or traversed in the name of a naïve comparison, nor is it to be drawn from the coincidence of similarity arising from the fact that all the texts involved are partly visual. Rather, the gulf separating Frederick Douglass and Matt Johnson, for example, and their time periods is itself an assumption that the graphic works discussed in this chapter all seek to dismantle. Insofar as the traumatic Black subject is nearly always also a historical one in contemporary entertainments, African American graphic novels reclaim the past in the name of the present: through a style, voice, or look that is unavoidably "presentist" in its approach — since even a comic designed to resemble antebellum illustrations always does so in a manner that contrarily flaunts what is more contemporary than historical about the text.