English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

This article examines the authorial projections of the comics artist in Kiko da Silva’s  El infierno del dibujante  (2015) and argues that da Silva creates a work with conflicted authorship in which he actively engages with metafiction, not only including numerous paratexts in the form of fictional facsimile (images, documents, etc.) that highlight the materiality of comics but also expanding the work through online and public happenings. Da Silva’s graphic novel appropriates various graphic styles and genres to pay tribute to and/or parody real cartoonists that influence the protagonist, a failed author whose life paradoxically becomes the comic he always wanted to write. In portraying a character who is supposedly plagiarised,  El infierno del dibujante  also provides a reflection on the notion of originality and copy in art, drawing attention to the comics industry and the production, reception and social recognition of comics.

Portrait of the comics artist as a failure. Conflicted authorship, metacomic and exercises in style in Kiko da Silva’s El infierno del dibujante