If we take for granted that comics is a medium that incorporates both words and pictures working in concert with one another towards a unified goal, then the experience of the medium is bound to include a unique set of elements derived from the experiences of both visual art and literature. The short bursts of words characterized by the time-based experience of reading and the environmental experience of viewing an image are inextricably linked in the experience of a comics page, resulting in a narrative form that is an amalgamation of time and space; of specific and general experience.

The large format of the Sunday newspaper comic strips of the early 20th century, which flattens both space and time into discreet images and displays them simultaneously, is an ideal format for modeling the often confounding and rigorous narrative and diagrammatic demands of Philosophical Thought Experiments.