Up until the mid 60s only a handful of Swedish intellectuals regarded comics as something worth serious attention and scholarly study. This however changed as a result of pop-art’s success, when works of Roy Lichtenstein (among others) were shown in Stockholm early in 1964, followed by an exhibition called “Seriernas Fantastiska Värld” in a small avant-garde gallery, in January 1965. This exhibition marks the starting-point for organizational efforts vis – a – vis comics in Sweden and is considered instrumental in the creation of Swedish fandom. This however is not enough to, at that time, declare the existence of an autonomous cultural field in Bourdieu’s sense. Since most of these activities (exhibitions, books, awards, articles, radio- and tv-shows) were organized and headed by one man alone, the journalist Sture Hegerfors, it is not until others start to debate in amateurishly edited and crudely copied fanzines, that polarities emerge, in a discourses central to the field: the definition of comics.