| Hernando, David. Why Do We Fall? Examining christopher nolan’s the dark knight trilogy. Edwardsville: Sequart Research & Literacy Organization, 2022. |
 
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| Wolk, Douglas. "Why Does Chris Ware Hate Fun?." Reading Comics. How Graphic Novels Work and What They Mean. Cambridge: Da Capo, 2007. 347–58. |
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| White, Mark D. "Why Doesn't Batman Kill the Joker?." Batman and Philosophy. The Dark Knight of the Soul. Eds. Mark D. White and Robert Arp. The Blackwell Philosophy and Pop Culture Series. Hoboken: Wiley, 2008. 5–16. |
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| Robertson, Chris. "Why Doesn’t Bruce Wayne Retire Already?!." Batman Unauthorized. Vigilantes, Jokers, and Heroes in Gotham City. Eds. Dennis O’Neil and Leah Wilson. Smart Pop. Dallas: Benbella Books, 2008. 99–108. |
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| Meskin, Aaron. "“Why Don't You Go Read a Book or Something?” Watchmen as Literature." Watchmen and Philosophy. A Rorschach Test. Ed. Mark D. White. The Blackwell Philosophy and Pop Culture Series. Hoboken: Wiley, 2009. 157–71. |
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| Cremins, Brian. "“Why have you allowed me to see you without your mask?”: Captain america #133 and the great american (protest) novel." International Journal of Comic Art 4. (2002): 239–47. |
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| Bukatman, Scott. "Why I Hate Superhero Movies." Cinema Journal 50. (2011): 118–22. |
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| Keguan, Bi. "Why I Research Chinese Cartoon History." International Journal of Comic Art 10. (2008): 421–36. |
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| Mandaville, Alison. "Why I Teach Comics." The Comics Journal (2005): 168–78. |
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| Woo, Benjamin. "Why is it so hard to think about comics as labour?." Comics Forum 2013. Accessed 22 May. 2015. <http://comicsforum.org/ ... labour-by-benjamin-woo/>. |
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| Haas, Daniel. "Why Nice Princesses Don’t Always Finish Last." Anime and Philosophy. Wide Eyed Wonder. Eds. Josef Steiff and Tristan D. Tamplin. Popular Culture and Philosophy. Chicago: Open Court, 2010. 121–30. |
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| Burt, Stephanie. "Why Not More Comics?." PMLA 134. (2019): 572–78. |
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| Atkinson, Paul. "Why pause? The fine line between reading and contemplation." Studies in Comics 3. (2012): 63–81. |
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| Levin, Bob. "Why Roy Lichtenstein is a Greater Artist Than Ghastly Ingels." Outlaws, Rebels, Freethinkers & Pirates. Essays on Cartoons and Cartoonists. Seattle: Fantagraphics, 2005. 183–90. |
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| Goetz, Ann. "Why Sell to Women, Parents, and Children?." How to Get Girls (into your store). A Friends of Lulu Retailer Handbook. Ed. Deni Loubert. San Diego: Friends of Lulu, 1997. 6–10. |
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| Pratt, Henry John. "Why Serials Are Killer." Journal of Aesthetics and Art Criticism 71. (2013): 266–70. |
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| Evans, Stephen C. "Why Should Superheroes Be Good? Spider-man, the x-men, and kierkegaard's double danger." Superheroes and Philosophy. Truth, Justice, and the Socratic Way. Eds. Tom Morris and Matt Morris. Popular Culture and Philosophy. Chicago: Open Court, 2005. 161–76. |
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| Moody, Kyle Andrew. "“Why So Serious?”: Comics, film and politics, or the comic book film as the answer to the question of identity and narrative in a post-9/11 world." Thesis Master of Arts. Miami University, 2009. |
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| Tojirakarn, Mashima. "Why Thai Girls’ Manga Are Not “Shojo Manga”: Japanese discourse and the reality of globalization." International Journal of Comic Art 13. (2011): 143–63. |
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| Evans, Woody. "Why they won’t save us: Political dispositions in the conflicts of superheroes." Transformative Works and Cultures 17 2014. Accessed 8 Oct. 2014. <http://journal.transfor ... hp/twc/article/view/533>. |
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| Howard, Sheena C., ed. Why Wakanda Matters: What black panther reveals about psychology, identity, and communication. Dallas: Smart Pop, 2021. |
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| Kahan, Jeffrey. Why We Need Superheroes. Jefferson: McFarland, 2022. |
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| Pellitteri, Marco. "Why We Should Read Joe Sacco." Joe Sacco. Nuvole da oltre frontiera. Joe Sacco. Clouds from beyond the Borders. Eds. Elettra Stamboulis and Gianluca Costantini. Ravenna: Comune di Ravenna, 2002. 34–47. |
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| Adler-Kassner, Linda. “Why Won’t You Just Read It?”: Comic books and community in the 1950s. Annual Meeting of the Association for Education in Journalism and Mass Communication: 9—12 Aug, 1995. |
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| Adler-Kassner, Linda. "“Why Won’t You Just Read It?”: E.c. comic book readers and community in the 1950s." Reader 38/39. (1997–98): 101–27. |
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| Ulrich, Johann. "»Wichtig ist der Spaß an der Sache«: Johann ulrich im gespräch mit atak." Plaque (2002): 215–36. |
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| Ritzer, Ivo. "Wicked City: Superhelden im transnationalen hongkong-kino." Superhelden zwischen Comic und Film. Eds. Thomas Koebner, et al. Film-Konzepte. München: edition text + kritik, 2007. 89–96. |
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| Roeder, Katherine. Wide Awake in Slumberland: Fantasy, mass culture, and modernism in the art of winsor mccay. Great Comics Artists. Jackson: Univ. Press of Mississippi, 2014. |
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| Spahr, Clemens. "Widersprüchliche Superhelden: Erzählung und gesellschaft in kick-ass und unbreakable." Medien. Erzählen. Gesellschaft. Transmediales Erzählen im Zeitalter der Medienkonvergenz. Eds. Karl N. Renner and Dagmar von Hoff. Media Convergence / Medienkonvergenz. Berlin u. Boston: de Gruyter, 2013. 139–62. |
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| Heuer, Christian. "»Wie befriedigend es ist, auf einer weißen Fläche Spuren zu hinterlassen«: Versuch über das lebensgeschichtliche erzählen im comic." Der dokumentarische Comic. Reportage und Biografie. Ed. Dietrich Grünewald. Bochum: Ch.A. Bachmann, 2013. 325–35. |
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| Schüwer, Martin. Wie Comics erzählen: Grundriss einer intermedialen erzähltheorie der grafischen literatur. Handbücher und Studien zur Medienkulturwissenschaft. Trier: Wissenschaftlicher Verlag Trier, 2008. |
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| Wüllner, Daniel. "»Wie Conan auf Viagra«: Tim pilcher im interview." Comicgate Magazin (2011): 28–35. |
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| Sackmann, Eckart. "Wie deutsch ist der deutsche Comic? Auf der suche nach einer nationalen bildliteratur." Comic Almanach (1993): 12–18. |
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| Meier, Stefan. "›Wie die Helden laufen lernen‹: Stil und transkription in aktuellen comics und comic-verfilmungen." Mediale Transkodierungen. Metamorphosen zwischen Sprache, Bild und Ton. Ed. Hartmut Stöckl. Heidelberg: Winter, 2010. 189–208. |
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| Löffler, Henner. Wie Enten hausen: Die ducks von a bis z. München: C.H. Beck, 2004. |
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| Morsbach, Petra. "Wie ich lernte, Comics zu lieben." Frankfurter Allgemeine Zeitung 15 Dec 2015, 18–19. |
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| Dolle-Weinkauff, Bernd. "Wie im Comic erzählt wird: Erzählerrollen in der bildgeschichte." Kindliches Erzählen – Erzählen für Kinder. Erzählerwerb, Erzählwirklichkeit und erzählende Kinderliteratur. Ed. Hans-Heino Ewers. Weinheim, Basel: Beltz, 1991. 171–86. |
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| Greinecker-Morocutti, Hannelore. "Wie ist die Darstellung des Warschauer Ghettos im Comic möglich? der himmel zwischen den mauern." Der dokumentarische Comic. Reportage und Biografie. Ed. Dietrich Grünewald. Bochum: Ch.A. Bachmann, 2013. 139–52. |
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| Grünewald, Dietrich. Wie Kinder Comics lesen: Eine untersuchung zum prinzip bildgeschichte, seinem angebot und seinen rezeptionsanforderungen sowie dem diesbezüglichen lesevermögen und leseinteresse von kindern. Jugend und Medien. Frankfurt am Main: dipa, 1984. |
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| Schikowski, Klaus. "Wie kleine Kinder: Über das verhältnis der comics zur kunst." Neue Rundschau 123. (2012): 104–21. |
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| Packard, Stephan. "Wie können Comics politisch sein?." Aus Politik und Zeitgeschichte 64. (2014): 17–23. |
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| Bauer, Gerd. "Wie liest man einen Collageroman? Zu Max Ernsts ›La femme 100 têtes‹." Max Ernst. Illustrierte Bücher und druckgraphische Werke. Die Sammlung Hans Bollinger. Köln: Wienand, 1989. 51–73. |
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| Acevedo, Juan. Wie man Comix macht. trans. Klaus Schübbe and Andreas Baumgart. Materialien der AG SPAK. München: Arbeitsgemeinschaft Sozialpolitischer Arbeitskreise, 1982. |
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| Meyer, Eva. "Wie man sich als Zuhörer malt." Faltsache. Frankfurt am Main, Basel: Stroemfeld/Nexus, 1996. 23–48. |
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| Laqua, Carsten. Wie Micky unter die Nazis fiel: Walt disney und deutschland. rororo Sachbuch. Reinbek bei Hamburg: Rowohlt, 1992. |
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| Becker, Walter. Wie schützen wir unsere Jugend vor Schmutz und Schund? Wegweiser für die Jugendhilfe. 2., erw. ed. Gütersloh: Mohn, 1959. |
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| Hommer, Sascha. "»Wie so Fraggles …«: Sascha hommer über sein china-projekt." Neue Rundschau 123. (2012): 184–89. |
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| Fuchs, Wolfgang J. "Wie übersetzt man eigentlich Sprechblasen? Eine kleine bestandsaufnahme." kjl&m 61. (2009): 61–66. |
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| Kyungu, David. "Wie werden die Schwarzen im Comic dargestellt: Medienkritische untersuchung." Diplomarbeit Hochschule für Bildende Künste Hamburg, 1989. |
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| Potysch, Nicolas. Wiederholt doppeldeutig in Bild und Schrift: Ambiguität im durchbilderten roman. Hannover: Wehrhahn, 2018. |
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| Sata, Lehel. "Wiederholung als Grenzüberschreitung: Rhetorik der intermedialen narration am beispiel von kafka-comics." Prinzip Wiederholung. Zur Ästhetik von System- und Sinnbildung in Literatur, Kunst und Kultur aus interdisziplinärer Sicht. Eds. Károly Csúri and Joachim Jacob. Bielefeld: Aisthesis, 2015. 191–212. |
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| Garlinski, Bojarek. "»Wieviele Bilder müssen wir noch hopsen?«: Glanz ohne elend der künstler ohne namen." »Mit Pikasso macht man Kasso.« Kunst und Kunstwelt im Comic. Eds. Cuno Affolter, Urs Hangartner and Martin Heller. Zürich: Edition Moderne, 1990. 82–86. |
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| Labarre, Nicolas. "WildC.A.T.S./Aliens: A meaningful death." The Comics Grid 2012. Accessed 18 Jul. 2012. <http://blog.comicsgrid. ... log/wildc-a-t-s-aliens/>. |
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| Ueding, Gerd. Wilhelm Busch: Das 19. jahrhundert en miniature. 2nd ed. Frankfurt am Main: Insel, 2007. |
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| Lahaye, Charlotte. "Wilhelm Busch und das Genre der Comics." Staatsexamensarbeit RWTH Aachen, 2002. |
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| Krause, Bernd. "Wilhelm Buschs Karikaturenfolge Der Virtuos: Analyse und interpretation unter berücksichtigung möglicher vorbilder." [Privatdruck] 2008. Accessed 12 Jan. 2016. <https://www.academia.ed ... ung_möglicher_Vorbilder>. |
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| Sackmann, Eckart and Joachim Knüppel. "Wilhelm Eigener – Comiczeichner auf Abruf." Deutsche Comicforschung 12. (2016). |
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| Sackmann, Eckart. "Wilhelm-Busch-Nummern." Deutsche Comicforschung 7. (2011): 35–42. |
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| Greenberger, Robert. Will Eisner. The Library of Graphic Novelists. New York: Rosen, 2005. |
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| Hajdu, David. "Will Eisner." Heroes and Villains. Essays on Music, Movies, Comics, and Culture. Cambridge: Da Capo, 2009. 178–86. |
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| Yronwode, Catherine. "Will Eisner." The New Comics. Interviews from the pages of The Comics Journal. Eds. Gary Groth and Robert Fiore. New York: Berkley, 1988. 11–23. |
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| Schumacher, Michael. Will Eisner: A dreamer’s life in comics. New York: Bloomsbury, 2010. |
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| Couch, N.C. Christopher and Peter Livingston Myer, eds. Will Eisner: A retrospective. New York: Museum of Comic and Cartoon Art, 2005. |
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| Andelman, Bob. Will Eisner: A spirited life. Milwaukie: M Press, 2005. |
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| Wolk, Douglas. "Will Eisner and Frank Miller: The raconteurs." Reading Comics. How Graphic Novels Work and What They Mean. Cambridge: Da Capo, 2007. 166–80. |
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| Wolk, Douglas. "Will Eisner and Frank Miller: The raconteurs." The Best American Comics Criticism. Ed. Ben Schwartz. Seattle: Fantagraphics, 2010. 93–103. |
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| Fitzgerald, Paul E. Will Eisner and PS Magazine: An ongoing legacy of nitty-gritty laughs and deadly serious how-to comics for generations of america’s warriors. an illustrated history and commentary. Fincastle: FitzWorld.US, 2009. |
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| Chaney, Michael A. "Will Eisner and the Making of A Contract With God." The Cambridge History of the Graphic Novel. Eds. Jan Baetens, Hugo Frey and Stephen E. Tabachnick. The Cambridge Companions to Philosophy, Religion and Culture. Cambridge [etc.]: Cambridge Univ. Press, 2018. 191–202. |
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| Levitz, Paul. Will Eisner: Champion of the graphic novel. New York: Abrams, 2015. |
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| Inge, M. Thomas, ed. Will Eisner: Conversations. Conversations with Comic Artists. Jackson: Univ. Press of Mississippi, 2011. |
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| Willms, Jennifer. "Will Eisner – Der »Spirit« New Yorks." Der dokumentarische Comic. Reportage und Biografie. Ed. Dietrich Grünewald. Bochum: Ch.A. Bachmann, 2013. 89–97. |
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| Andelman, Bob. Will Eisner: El espíritu de una vida. Barcelona: Norma, 2008. |
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| Braun, Alexander. Will Eisner: Graphic novel godfather. Berlin: Avant, 2021. |
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| Couch, N.C. Christopher. "Will Eisner, Master of Comic Art and Father of the Graphic Novel." Will Eisner. A Retrospective. Eds. N.C. Christopher Couch and Peter Livingston Myer. New York: Museum of Comic and Cartoon Art, 2005. 9–14. |
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| Kaplan, Leonard V. "Will Eisner: Master of graphic wisdom." Comics and Sacred Texts. Reimagining Religion and Graphic Narratives. Eds. Assaf Gamzou and Ken Koltun-Fromm. Jackson: Univ. Press of Mississippi, 2018. 269–80. |
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| Last edited by: joachim 08/06/2022, 19:44 |
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| Barrier, Michael. "Will Eisner: Moved by The Spirit." 2003. Accessed 26 Nov. 2009. <http://www.michaelbarri ... Eisner/essay_Eisner.htm>. |
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| Knorr, Wolfram. "Will Eisner: Oder: das visuelle rauschgift des bilderromans." Comics, Mangas, Graphic Novels. Eds. Heinz Ludwig Arnold and Andreas C. Knigge. Text + Kritik Sonderband. München: edition text + kritik, 2009. 74–89. |
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| Will Eisner: Portrait of a sequential artist. 2007. Jon B. Cooke. |
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| Will Eisner: Profession: cartoonist. 1999. |
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| Wiater, Stanley and Stephen R. Bissette. "Will Eisner: The old man on the mountain." Comic Book Rebels. Conversations with the Creators of the New Comics. Eds. Stanley Wiater and Stephen R. Bissette. New York: Donald I. Fine, 1993. 269–81. |
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| Andelman, Bob. Will Eisner: Una vita per il fumetto. Spoltore: DOUbLe SHOt, 2013. |
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| Schmidt, Sabine Maria. "Will Eisner und Anmerkungen zur Vorgeschichte der »Graphic Novel«." Tausend Bilder und eins. Comic als ästhetische Praxis in der postmigrantischen Gesellschaft. Eds. Angela Weber and Katharina Moritzen. Bielefeld: Transcript, 2017. 398–405. |
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| Last edited by: joachim 04/08/2021, 10:47 |
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| Smith, Greg M. "Will Eisner, Vaudevillian of the Cityscape." Comics and the City. Urban Space in Print, Picture and Sequence. Eds. Jörn Ahrens and Arno Meteling. London, New York: Continuum, 2010. 183–98. |
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| Added by: joachim 25/03/2010, 00:26 |
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| Clark, Daniel D. "Will Eisner’s A Contract with God." The Graphic Novel. Ed. Gary Hoppenstand. Critical Insights. Englewood Cliffs: Salem Pr. 2014. 57–68. |
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| Gómez, Felipe. "Will it be possible? Apocalypse and resistance in latin american graphic novels." Paradoxa 32. (2021): 201–24. |
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| Lloyd, Michelle Anne. "Will The Real Captain America Please Stand-Up: Redefining the patriotic hero post-9/11." Thesis Master of Arts English. Clemson University, 2016. |
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| McClelland-Nugent, Ruth. "“Will the Real Dr. Psycho Please Stand Up?”: Finding the origins of wonder woman’s golden age characters." International Journal of Comic Art 20. (2018): 575–86. |
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| Johnsen, Derek. "Will the Real Wolverine Please Stand Up? Marvel’s mutation from monthlies to movies." Film and Comic Books. Eds. Ian Gordon, Mark Jancovich and Matthew P. McAllister. Jackson: Univ. Press of Mississippi, 2007. 64–86. |
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| Alaniz, José. "‘Will You Listen to That!’: (dis)ability in moore/willingham’s ‘in blackest night’." Comics Forum 2012. Accessed 13 Apr. 2013. <http://comicsforum.org/ ... t-night-by-jose-alaniz/>. |
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| Broglio, Ron. "William Blake and the Novel Space of Revolution." ImageTexT 3. 2 2007. Accessed 25 Jan. 2010. <http://www.english.ufl. ... /archives/v3_2/broglio/>. |
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| Ritchie, Matthew. "William Blake: On the infinite plane." ImageTexT 3. 2 2007. Accessed 25 Jan. 2010. <http://www.english.ufl. ... /archives/v3_2/ritchie/>. |
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| Acciaioli, Stefania. "William Blakes intertextueller Dialog zwischen Wort und Bild." Schrift und Graphisches im Vergleich. Eds. Monika Schmitz-Emans, Linda Simonis and Simone Sauer-Kretschmer. Bielefeld: Aisthesis, 2019. 165–82. |
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| Inge, M. Thomas. "William Faulkner and the Graphic Novel." International Journal of Comic Art 5. (2003): 214–19. |
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| Nyberg, Amy Kiste. "William Gaines and the Battle over EC Comics." Inks 3. (1996): 2–15. |
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| Nyberg, Amy Kiste. "William Gaines and the Battle over EC Comics." A Comics Studies Reader. Eds. Jeet Heer and Kent Worcester. Jackson: Univ. Press of Mississippi, 2009. 58–68. |
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| Jones, Sumie. "William Hogarth and Kitao Masanobu: Reading eighteenth-century pictorial narratives." Yearbook of Comparative and General Literature 34. (1985): 37–73. |
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| Wagner, Hans-Peter. William Hogarth. Das graphische Werk: Ein kommentierter auswahlkatalog. Trier: Wissenschaftlicher Verlag Trier, 2013. |
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| Kidson, Mike. "William Hogarth: Printing techniques and comics." International Journal of Comic Art 1. (1999): 76–89. |
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| Bartual, Roberto. "William Hogarth’s A Harlot’s Progress: The beginnings of a purely pictographic sequential language." Studies in Comics 1. (2010): 83–105. |
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