How a German Publisher Appropriates Comics It Did Not Originally Publish

Chapters in this book

1. Frontmatter I
2. Contents V
3. Comics and Agency 1
4. What We Do with Comics: The Agency of Collectors in Dylan Horrock’s Hicksville 23
5. Tintin’s Global Journey: Editors as Invisible Actors behind the Comics Industry of the 1960s 43
6. How a German Publisher Appropriates Comics It Did Not Originally Publish 59
7. The Agents of Doom: An Empirical Approach to Transmedia Actors 81
8. Agency in the Making: Distribution and Publication as Topics in Nikolas Mahler’s Die Goldgruber Chroniken and the Anthology Drawn & Quarterly 101
9. Comics Artist versus Artistic Genius: Kverneland and Fiske’s Approach to Artists, Metafiction, and Allusion to Contemporary Sources in Kanon 119
10. Death of the Endless and Fan Projections 143
11. “I Always Win”: Corporate Comics, Delinquent Fans, and the Body of Richard C. Meyer 171
12. Pilgrimage to Hall H: Fan Agency at Comic-Con 189
13. Librarians, Agency, Young People, and Comics: Graphic Account and the Development of Graphic Novel Collections in Libraries in Britain in the 1990s 201
14. Learning from Pupils about Conviviality 217
15. Ada in the Jungle and Aya of Yop City: Negotiating “Africa” in Comics 237
16. Telling Stories with Photo Archives: Intermedial Agency in Documentary Comics 267
17. Who Controls the Speech Bubbles? Reflecting on Agency in Comic-Games 283
18. Notes on Contributors 301
19. Index 303