Marta Boni is assistant professor of Film and Television Studies at the University of Montreal. She has published Romanzo Criminale. Transmedia and Beyond (Ca' Foscari University Press, 2013), co-edited Networking Images. Approches interdisciplinaires des images en réseau (Presses de la Sorbonne Nouvelle, 2013), various essays in international scientific journals such as Mise au point, MEI, SERIES, Cinergie, and chapters in edited collections on television seriality, fandom, media paratexts, and transmedia.

• Introduction: Worlds, Today, Section 1: Theories of World Building, 1. The Aesthetics of Proliferation, 2. Building Science Fiction Worlds, 3. 'He Doesn’t Look Like Sherlock Holmes': The Truth Value and Existential Status of Fictional Worlds and their Characters, 4. 'Visible World': The Atlas as a Visual Form of Knowledge and Narrative Paradigm in Contemporary Art, Section 2: Economies of World Building, 5. A World of Disney: Building a Transmedia Storyworld for Mickey and his Friends, 6. World Building Logics and Copyright: the Dark Knight and the Great Detective, 7. Battleworlds: The Management of Multiplicity in the Media Industries, 8. Platform Producer Meets Game Master: On the Conditions for the Media Mix, 9. Narrative Ecosystems: a Multidisciplinary Approach to Media Worlds, Section 3: Immersion, 10. The Building and Blurring of Worlds: Sound, Space, and Complex Narrative Cinema, 11. Beyond Immersion: Absorption, Saturation, and Overflow in the Building of Imaginary Worlds, 12. Zombie Escape and Survival Plans: Mapping the Transmedial World of the Dead, 13. MMORPG as Locally Realized Worlds of Action, Section 4: Media as World Building Devices, 14. The Worries of the World(s): Cartoons and Cinema, 15. Linguistic Terrain and World Time: Chinese Media Theories and Their World Imaginations, 16. The Worlds Align: Media Convergence and Complementary Storyworlds in Marvel’s Thor: The Dark World, 17. World Building and Metafiction in Contemporary Comic Books: Metalepsis and Figurative Process of Graphic Fiction, Section 5: Appropriations and Fan Practices, 18. The Monster at the End of This Book: Metalepsis, Fandom and Worldmaking in Contemporary TV Series, 19. Traversing the 'Whoniverse': Doctor Who’s Hyperdiegesis and Transmedia Discontinuity/Diachrony, 20. Transmediaphilia, World Building, and the Pleasures of the Personal Digital Archive, 21. The Politics of World-building: Heteroglossia in Janelle Monáe’s Afrofuturist WondaLand