Embarrassing or unwinding?

Even if it isn’t the most “constructive” or “serious” form of reading I could engage with at the end of the day, it brings me genuine joy.

Searching for more of Vivienne Medrano’s content post-binging Hazbin Hotel and Helluva Boss, I discovered Medrano’s unfinished webcomic Zoo Phobia. Reading what exists of the series reminded me of something fundamental yet often overlooked: the profound influence of classic cartoons on the language of comics.

In an age when comics history is still being rediscovered, Winner’s name deserves to be spoken alongside the greats of his time.

Over the past few years, the Washington State Summer Con has easily doubled in size, mirroring the growth of other regional conventions and yet, like so many of its counterparts, its relationship to comics—the medium that in many ways gave birth to modern “con culture”—has become increasingly ambivalent.

Running from 1941 to 1985, Gus Arriola’s “Gordo” depicts the cultural and social aspects of Mexico through the eyes of Salazar "Gordo" Lopez. While praised for its artistic style, humor, and educational value, the comic strip also faced criticism for its occasional stereotypes and inaccuracies about Mexican history and politics.