Items

• Placeholder Images

  Images felt to be particularly offensive have been replaced with placeholder images like this one.
• Un chasco negro

  A half-page comic-strip with four panels, each with a caption in verse form. These depict a well-dressed Black man looking into a mirror and preparing for a photographic portrait, which is then taken by a white photographer, using a tripod-mounted bellows camera. Next the man is shown the negative of the image and the text describes how he much admires his apparently white skin. Finally, bitter disappointment follows when he sees the final print in which he is “as black as the day he was born”.
• El último pago

  The composition is divided into two clearly differentiated scenes. On the left are three figures, two of whom are dressed in formal attire, while the third is a police officer. Holding a sign with the inscription "200 contributions", these individuals represent the tax collectors. In contrast, on the right-hand side, we observe a man standing next to a seated woman, whose posture suggests a state of extreme fatigue, almost slipping to the ground. The woman's clothing includes espadrilles, a ruana and a hat, elements that denote her Indigenous origin. In the centre of this scene, a human skeleton gives its skin to the men on the right.
• Historia gráfica de la lucha por la tierra

  Cover image: The cover of a book, titled “Graphic history of the fight for land [rights] in the Atlantic coastal [region of Colombia]”. The drawings are attributed to Ulianov Chalarka and the book itself to Fundación del Sinú. The cover shows four title pages, each relating to short stories in the book. They are titled: “Tinajones: a village fighting for its land”; “El Boche: a rebel peasant farmer from the Sinú”; “Lomagrande: the bastion of the Sinú”; “Felicita Campos: the woman peasant farmer fighting for land”. Second Image: An individual page from the story about Felicita Campos narrates a confrontation in which a landowner is ordering his workers and tenant farmers to mark their own cattle with his brand. Felicita protests and tries to organise resistance in the face of threats. She is then arrested by the police, on the pretext that she and her community are invaders on the landowner’s property.
• Crónicas de la resiliencia

  Cover: The cover of this graphic novel depicts a young Black woman with an Afro hairstyle swimming in the depths of the ocean along with a group of turtles. First page: An inner page shows images of ecologically devastated places on Earth, as seen from a computerised device. At the centre of the page, a geolocalization-device shows a text: “Interior Sea of the Momposina Depression and its surroundings”. A second inner page shows a Black person wearing a robe, speaking to a group of gender and racially diverse people. His words are: “My mother used to say that she did not invent bioconnectivity, but that she had discovered it”. “I say this because access to the perspective of the world of other living beings was something we had dreamed of for ever. Thanks to that evolutionary leap in knowledge, we could look at the world in a different light and, also, at ourselves with different eyes.” “We were able to develop the biomimesis of the 20th century and expand it, respecting the creative greatness of organisms without sacrificing them as objects of study”.
• Santa Sombra

  A two-page extract from a longer work. On the left-hand splash page, a woman in Indigenous dress holds a machete in each hand, one slicing down through the neck of a man. The room they are in is covered with blood splatters. On the right, the protagonist calms another woman who is frightened by the attack.
• El Ñeri Juan Pingo

  In this one-page comic a man in a suit riding an electric scooter challenges a cyclist wearing a vest to a race. The first one to the square wins a beer. The first man offers to wait until the other gets to the shrine to the folk saint Gauchito Gil, but his scooter runs out of battery leaving him stranded by the side of the road. The other man is then seen sitting by the shrine drinking wine out of a carton and laughing at the first man.
• Abelardo Alzamora: Maestro, campesino y escritor de Yapatera

  Two pages showing several subsequent frames in shades of brown, oker, and sepia. The first page shows how Abelardo Zamora, wishing to join the ideal of defending people in poverty due to dispossession, in the 1970s, joined a movement of landless peasants who had been left out of the agrarian reform. The drawings show peasant men and women who work in the fields and raise wooden sticks on their hands to demand justice. The final text summarizes: "This mass of peasants who were not always considered suffered oppression, oblivion in the peasant world, and even oppression from their own partners at the cooperative. That is why in 1979 the largest invasion of agricultural lands took place in upper Piura." The second page shows the first experience of land eviction by the army, which Abelardo Zamora experienced. Soldiers armed with batons and shields destroy a precarious peasant settlement with a bulldozer while chasing children, women and men –including Abelardo– who flee, in terror, carrying their few belongings. The first frame of the page says: "But this land seizure ended in a bloody eviction and what was my first persecution."
• Chifanzín

  Several images of different parts of a zine, including the cover (depicting a girl holding a fork with seafood on it and a bowl of food), a small insert included in the zine (showing various images of Asian restaurants and foodstuffs), and a comic about the experiences of a woman while working in an Asian restaurant. In the latter, the protagonist describes getting a job at a famous chifa. One of the restaurant's regulars is a famous man called 'El Huachano'. When he doesn't turn up one day the owners ask the protagonist to deliver a soup to his house. Once there, she sees what appear to be diabolic images through the window. When El Huachano opens the door behind him she can see the grinning face of TV personality Magaly Medina.
• Colombia real

  The image depicts an unfolded zine with the sketched face of a woman over a drawn outline map of Colombia. Various key words are placed over the drawing.
• Las aventuras del Gato: La isla del griego

  La isla del griego tells the story of wildlife trafficking in the Colombian Amazon in the border area of Leticia. The main character, El Gato, a young white-mestizo from Bogota, embarks on a trip to the Amazon to spend his holidays in a camp with his biologist friend Kurt. The plot revolves around the discovery of the illegal animal trade network led by a character called "el Griego". Kurt and Gato look for ways to dismantle this trade together with the Indigenous community, led by Nagori. Tacuma, a young Indigenous boy, helps Gato and his travelling companion, Alina, to save themselves from dangerous situations in the face of these traffickers. At the end of the comic the traffickers are discovered and the protagonist returns to Bogotá.
• Ana: El sueño de regresar

  A 12-page zine titled “Ana: the dream of return”. The comic tells the story of Ana, a young Indigenous girl, who lives in a rural Indigenous community in Colombia. Lack of income obliges her parents to send her to the city where she finds work as a domestic servant. The work is hard and poorly paid, and the conditions are bad: she sleeps on the floor, eats in the yard, is sexually harassed by her employer’s son and suffers racist insults. One night, Ana escapes and returns to her village for Christmas - but she knows she must go back.
• Cuentos alambrados

  This zine provides a history of barbed wire with a particular focus on Latin America and the exploitation of Indigenous people. It includes the story of an Indigenous myth about the Ñandubay, the tree traditionally used in Argentina for the posts used to construct barbed wire.
• Conga: Vida y muerte en tiempos del extractivismo

  'A three-page comic zine with an additional title page. The latter depicts a woman with her face in her hands. The first page shows a group of people standing in front of a river and in their speech boxes they complain about the potential impact of mining on their community. The second page includes a large panel with people protesting the mine surrounded by riot police. Below, three women hold photographs of loved ones who were killed in the protests. The final page demonstrates the violent repression of the protestors by the riot police, who are seen kicking over food vats, and shouting insults.
• Nos vamos

  A white notepad page drawn in green pen ink. No frames. Simple, hand-made drawings not interconnected and hand written text, rather seeming like sketch text and notes. Text reads: “In Potosí there is a mountain that guards the city”. Drawings of a woman and another human figure with a wolf's head, both of them dressed in a urban, young, hip, way (the woman wearing a striped French cap and low-heeled boots; both of them wearing jumpers and trousers). The woman has a thought bubble reading: “You can feel the altitude” (“Se siente la altura”). A handwritten note: “We walked a lot”. A mountain with the text: Cerro Rico (Mount Rich). Even though afterwards the Spanish pass by here, it should be called Mount Poor. “It’s cold”. A drawing of a man holding a cigarette in his lips, dressed as a miner, picking on a wall. A bag with leaves reads ”Coca” and a little flask reads “Pure alcohol”. "The miners live in the worst conditions. This time around I don't want to go see them. It's a kind of tourism that I can't stand". A drawing of a coca leaf. “We sourced coca leaves after walking around almost of all Potosí”. A drawing of a woman with two long braids, wearing a hat, shawl, skirt, carrying something on her back, wrapped in the shawl, resembling the Aymara women’s dressing style. Three speech bubbles coming out from the woman: “Go back to your country, you discusting people. Fuck” “You come to rob us and to beg. Go away”. “Beggars!” A text note reads: “A woman yelled at us while we were walking in the street”. Next to the woman, a drawing of a dog. Hand-written text: “There are many stray dogs”. A short-haired woman wearing trousers and a long-sleeved black shirt lying on the floor with her eyes open. Text notes with arrows pointing to different parts of her body: “I am congested.” “I burnt myself*” “* I burnt myself due to vanity. I was trying to wax my moustache”. “I have a bad stomach”. “My legs itch”.
• Nopeyakas N’äyhäy

  In 'The Prints of the Image' the Kalay'i collective depicts scenes of the everyday Wichí life in the north of Salta, Argentina. The comic narrates in Spanish and Wichí the story of a group of Wichí friends who find an abandoned mobile phone at their school.
• Pedrito: El indiecito estudiante

  "Pedrito, el indiecito estudiante" is a comic strip published in Palomilla. Revista peruana para niños (Peruvian children's magazine). For fifteen issues between April and December 1940, this comic strip narrated the life of Pedrito, an Indigenous migrant boy, who wants to get an education in an urban environment dominated by the white-mestizo world of Lima.
• Nuestra vida se organiza

  The cover represents a migrant family in an urban space. The first of the two inner pages depicts rural life in Peru, including a person dancing in Indigenous clothing, and people working the fields and by a river. The second depicts the arrival of migrant workers in the city of Lima.
• La Plaga

  A single page comic-strip, titled “The Plague”, with three tiers and six panels in colour. The panels narrate the story of the invasion of the Americas by the Spanish, depicted as rats who arrive on ships, carrying ambitions and diseases. The Indigenous people, who are depicted as capybaras (large South American semi-aquatic vegetarian rodents), fall victim to the rats’ swords and illnesses. They plead for protection from their spirit beings. The final panel, occupying the whole bottom tier, shows a hybrid entity composed of a jaguar, a condor and an eagle, with a serpentine body in the background. The text says “When the struggle of the condor, the eagle and the jaguar are united, the world of Abya Yala will be better”.
• Dueños de la tierra

  A page composed of nine panels, the first five of which stretch the width of the page. A man watches other horsemen ride over the horizon before hearing rifle-shots ring out over the pampas. In his thought bubble appear the words, 'Killing is easy, of course, but not like that'. The page finishes with images of spent cartridges thrown up into the air. The text box reads '...because killing is like raping someone..."
• 2 Historias de migración: De China a Perú

  The fanzine tells two stories. The first is the migration from China to Peru during the 19th century and the second is the situation of Chinese and Nikkei migration in Lima.
• Es progreso pero parece retroceso

  In this one-page comic strip, Zavala evokes the memories of the victims of state repression of protests and underlines how, under the accusation of "terrorism", human rights are violated.
• Lima 1840-1906: Progreso, trabajo y vida diaria

  Lima 1840-1906: Progreso, Trabajo y Vida Diaria is a comic book about the life of Paulina, a black woman, and her granddaughter Luzmila, who denounce the economic and social inequalities in Lima during the transition from the 19th to the 20th century. The work criticises the concept of "progress" promoted by the white-mestizo male elite, highlighting its negative impacts on the daily life of the people.
• Don Zenón, Petronila y Trampolín

  In this picture, we see Petronila perusing the news in the newspaper. She has found that actors are needed for a movie and wants to audition. Trampolín, the little one, tells his dad to give it a try, but his father declines the offer. Petronila arrives at the casting, but she is offered a very different role than what she expected.
• A propósito teléfono

  "A propósito del teléfono" is a comic strip published in the magazine El Perú Ilustrado and consists of six vignettes showing everyday situations related to the arrival of the telephone in Lima. In one of them, a Black man shows his surprise at being notified that he can get a job as an officer.
• El teléfono fantasma

  A half-page comic-strip, with six drawings and no text, which shows a small boy playing with a wall-mounted telephone typical of the very early twentieth century. He uses a hat and suit of clothes to make the telephone look like a human figure facing the wall. The boy leaves the room. Then a Black male cleaner, carrying mop and bucket, enters the room, unaware of the figure. The telephone rings and he turns to look. Astonished at what he sees, he falls over in amazement, cartoon-style.
• Runtanos de tuerca y tornillo

  A half-page comic strip with four panels, each with a caption in verse form. The panels start with two old men, identified by the text as illiterate, dressed in ponchos and carrying walking sticks, who are being introduced by a policeman to a photographer who will take their photos for their citizen identity cards. The photographer irritates the men by asking them to put aside their walking sticks and straw hats, a request the men do not understand. Their irritation turns violent when the photographer puts his head under the dark cloth to take the photo. They think he is aiming a weapon at them and set upon him with their sticks.
• Del Artesanado Urbano i sus Luchas

  On this cover, we see a tailor engaged in ironing. His tools are seen hanging on the wall. The letters "Del Artesanado Urbano i sus Luchas" maintain the aesthetic of the engravings by Guaman Poma de Ayala. The comic explains the Inca conquest of Peru's territories and how labor and artisanal activities were distributed.
• Domitila: Testimonio de una mujer de las minas de Bolivia

  This is a didactic booklet in comic format that summarises the main aspects of the book "Si me permiten hablar" (If I May Speak), which is a testimony of the Indigenous leader Domitila Barrios. The main character of the comic is this Indigenous leader. She narrates the exploitation of workers, particularly women, and the need for popular organisation, as well as her pride in her "Indian blood".
• Abram Calderón: Memoria y violencia para un líder Asháninka

  Page 1: The page shows a small valley between two mountains, in shades of blue, at night. Clouds and a few stars touch the top of the mountain. In the centre of the page is a blue snake; geometric drawings in white ink are drawn on his body. Standing on top of the snake is a figure, with its back turned. He wears a tunic, with a woven band running horizontally across the tunic. He has a ribbon around his head with a feather, and in his right hand he holds a stick that is flowered with branches and leaves, and the blade of an axe tied at the top of the stick. On the left side at the middle height of the page, a box with text reads: "Legend has it that whenever our people need help or are aggrieved by the yoke of enslavement, Itomi Pavá will return to our land, with his shining sceptre, with which he extinguishes the stars, and will implant order and balance in our villages of the High Jungle." In the lower left corner of the page, there is the figure of a man, drawn without fill colour, so the background looks white. The man has short straight hair, possibly greying, and some wrinkles on his forehead. He wears a turtleneck sweater. Out of his mouth comes a speech bubble that reads: "He did it a long time ago, when our brothers were enslaved and dispossessed of their land. He spoke with the men of the jungle and established his domains in the territory of the Great Grassland, exactly on the "Cerro de la Sal". In the lower right corner of the page, a young woman, drawn in the same way as the man in the lower left corner described above, hears the man speak. Page 2: The page’s background is coloured in hues of blue. The right side of the page shows, over a background of white clouds, the man with the tunic holding a sceptre and standing on a snake, both of which are also portrayed in the other page described before. Now the serpent is in a raised position, high up to the clouds and above some tall trees. The man with the sceptre is standing on the head on the snake. Both man and snake are facing directly into four hands lined in white ink. Two hands are holding a bible and a bag of coins. Another hand is offering the coins to the man standing on the snake. The fourth hand is pointing at the man’s sceptre. In the ground, under big black trees, a group of silhouettes of adults and children also dressed in tunics, like the man with the sceptre, are peacefully relaxing and playing with nature and sitting or standing on the snakes’ lower body. In the middle right side of the page, a text frame reads: “They called him Juan Santos Atahualpa and at the beginning of evangelization in our jungle, he fought against the Spanish invaders and without having lost a single battle, he went to the hidden area of the Metraro, to educate men by teaching them to live in peace.” Below, the right corner of the page shows the silhouettes of the elder man and the young woman also portrayed on the other page previously described. Speaking to the young woman, the man has a speech bubble saying: "In the year 1965, when my brother and I were studying the word of God and managing the shop at the Mission school, Itomi Pavá left the skies of the Metraro and came to Nevati."
• ‘Gobierno provoca masacre en la selva’

  The title of this single image is written in a typescript reminiscent of early Spanish chronicles. The composite frame includes Indigenous people protesting the sale of their ancestral land reservations in the Amazon. Soldiers fire on the protestors from helicopters and from behind riot shields. Dead bodies lie in the foreground. At the side various political figures comment on the protests, using nationalistic slogans to critique the protestors. An explanatory text runs around the image.
• Cerra'o: Comienzos

  A two-page extract from a longer work. The first page depicts an Indigenous man having his throat cut and heart removed by another Indigenous man. The second shows the blood from his heart seeping down into the earth.
• ¡Basta Ya!

  Image 1: A nineteenth-century engraving shows a man with a portable chair strapped to his back in which sits a passenger, facing backwards. The porter is carrying his passenger up a steep ascent in very mountainous terrain; they are being soaked by pouring rain; the porter is barefoot and carries his sandals in one hand. A speech bubble shows the porter exclaiming “Basta ya!” (enough already!) Image 2: A single page, titled “Relations of Exploitation”. A four-panel column on the left is titled “Owners of the means of production” and shows a slaveowner, a feudal lord, a landowner and an industrialist. A four-panel column on the right is titled “Workers” and shows the people exploited by each type of owner: an enslaved African, an Indigenous serf, a pesant farmer and an industrial labourer. Image 3: The image is the back cover of the pamphlet. It shows two male construction labourers working with shovels on a building site. Text in capital letters above them says: “Why is that we the workers, being the ones who produce the wealth, are the ones who least benefit from it?”
• El cóctel

  A group of expensively dressed white/mestizo people stand around holding drinks. Their various conversations are all related to race. Several conversations refer to differences between Lima and the rest of Peru, others complain about shantytowns, and many are based on stereotypes about race in relation to class.
• Manquillán: El cóndor perdido

  A four-panel comics page, the main panel of which depicts a large crowd of Indigenous people, some of whom are on horseback and armed with spears. In the foreground there is a woman beating a drum. An inset panel depicts the protagonist, Manquillán, speaking to another woman as he is about to join the others on a raid.
• Calixto Garmendia: Un cuento de Ciro Alegría con dibujos de Jesús Cossio

  This zine comprises the short story ‘Calixto Garmendia’ by Ciro Alegría. The text is accompanied by illustrations drawn by Jesús Cossio. The drawings depict different scenes and characters from the story, some of which, through use of shading or the inclusion of particular items of clothing, highlight racial difference.
• Breve guía técnica de dibujo popular

  The image shows a hand firmly holding a brush and pencil. The title Brief Technical Guide to Popular Drawing is visible (Breve guía técnica del dibujo popular).
• Página infantil

  The top of the page reads "Children's Page" in cursive letters coming out of the mouths of a white boy and girl. Below, an inset shows a black-and-white drawing of cut-out figures of a head drawn in black ink, with large white eyes, a large, round mouth, and ears adorned with large hoops. The holes in the eyes that read "cut-out". On the underside of the head is drawn a long tab that reads "Lever B". To the right of this illustration is another illustration, a drawing of the body of a child figure filled in black ink. They wear a short skirt, bracelets, and a necklace of round beads. The head is only traced, so that the head described before is put there. Next to the drawing of the body there is a background showing a reed hut, a palm tree, a clay pot, and a puppy. Underneath the box with the illustration, a text reads: "The two drawn pieces must be glued onto cardboard before being cut out. Open the dotted lines of the neck with a penknife and highlight the white spaces on the head that mark the eyes and mouth. Insert the lever of the second piece through the cut of the neck and fix points A and B with a clasp. When you want to see the blackie move his eyes and mouth, all you have to do is touch the lever."
• Boquellanta

  A group of Brazilian professional male, light-skinned, wavy-haired football players are practicing skilfully moving the football. They players are drawn looking human in a ‘naturalistic’ way. Next to the players, there is a figure, representing the character Boquellanta. This figure is not drawn in the same ‘naturalistic’ human-looking way as the players, but rather drawn as a grotesque figure that looks not human but like a cartoon, drawn fully in black ink representing black skin, with a big, squared head, huge ears, curly hair, a thick white circle in place of the mouth, and with enormous white eyes. He is dressed in square-printed pants, suspenders, a stripey t-shirt and grotesque enormous shoes, potentially resembling the shoes of a clown. The players take a break and Boquellanta, admiring the player’s great skills with the football, decides to take a chance with the football and starts moving it with his feet. The players, impressed when seeing Boquellanta playing the football, comment out loud that the little Brazilian, as they call him, has an impressive dominion of the football. Boquellanta replies to the players that he is not a little Brazilian and that he is a “true Black” who lives in the Malambito*, a racialised neighbourhood in the Colombian Atlantic region, traditionally associated with Afrocolombian populations. * “Yo soy negro de pura cepa y vivo en Malambito”.
• Para los niños Mojicón

  In this episode, we see how Mojicón invites his friend Gelatina to the cinema. However, they come up against an obstacle: minors cannot enter without the company of an adult. Clarita, the black maid of Mojicon's house, enters the scene. Mojicon plans to paint their faces with charcoal to pass himself off as Clarita's children. She knows the plan will not work. Finally, the owners of the cinema discover the deception.
• [Sin título]

  This a two-page black-and-white image. The left page is divided into two sets of uneven panels separated by thick black spaces. The left set of panels on the left-hand page has four tiers. The top panel shows black shadowy figures against a white background. It seems to depict migrants walking through a desert landscape. The second tier has the word “Negros” (Blacks) written in huge black capitalised design lettering. The letter R is breaking the frame into the top panel. The whole word fragments the frame and small shadow-like black figures on the floor are moving as if in an earthquake caused by the huge letters. The third panel shows a black shadow-like figure in the foreground, which is then repeated in the background: both seem to be made of dissolving sand. The bottom panel depicts a white dust cloud that expands into the panel above and into the right-hand set of panels, which are fragmented like a broken mirror. The second page on the right is predominantly black with a white dust cloud growing from the bottom left-hand corner of the page and expanding across it. A group of three black silhouettes – two taller, one shorter, resembling, maybe, a family – are standing amid the white dust cloud.
• Escuela Panamericana de Arte: Aprenda a Dibujar

  These pages include textual extracts that relate to drawing bodies as produced by the Escuela Panamericana de Arte. The text also includes descriptions of life in a Wichi community, as well as additional text in Wichi, which is not translated. The text is accompanied by drawings of community activities, and a set of sketched faces with a set of guidelines over and around them.
• Escuela Panamericana de Arte: Razas Humanas

  Two black-and-white pages composed of drawn profiles of the heads of different Black and Indigenous men alongside white heads. Lines are included to delineate established notions of skull shape for different racial groups. The text describes what it sees as typical cranial characteristics of ‘black’, ‘coloured’, and ‘yellow’ groups in comparison to ‘whites’.
• Las razas mayores

  This image, the title of which translates as “The main races”, occupies half a page of the magazine and has two rows, each with four line-drawings. Each drawing has a label and some of these are the names of what were taken, in the early twentieth century, to be the main human “races” - Caucasian, Mongoloid, Indian, Ethiopian. There are some other labels which are semi-serious or humorous - Red (i.e. “Red Indian”, meaning Indigenous American), Modern, Diabolical and Horse.
• Episodio carnavalesco

  The one-page comic-strip with six black-and-white panels narrates how three well-off young men, while out on a drinking spree, buy carnival-style masks. One has a mask showing a caricatured African face. Arriving home very drunk, he goes to bed with the mask still on. In the morning, his mother comes into the bedroom with coffee, sees him asleep, mistakes him for a Black man, and screams in alarm that there are thieves in the house.
• ¡Qué Buen estómago!

  This one-page comic strip with six black-and-white panels shows a Black man being questioned by a white man, with a young white child also in the scene. The Black man confirms he is from the Goajira (an area in the Caribbean region of Colombia), where he agrees with the white man that life is completely “primitive”. The white man asks if he likes children and he responds that he does but that “afterwards” they upset his stomach if he doesn’t take bicarbonate of soda.
• Fulú: La mala suerte

  On these two pages two slaves force their former white owner to walk naked into the forest carrying the protagonist Fulú on her back. The man walks behind with a stick and Fulú holds a harness attached to the white woman’s head.
• Zambo Dendé

  Image 1: The page is divided in four horizontal panels. Each panel shows a dandelion against a blue background, slowly floating down into a light-brown-skinned hand. Each panel has a text that reads, consecutively: “Like a dandelion, hope rests on the oppressed...”; “...Who seek the path to a hidden and uncertain truth”; “Prostrating itself before the chosen one, the committed one rushes forward so that with his hands he can bear the weight of the legacy...”; “...A legacy of blood and race. Today is another night of revenge and disastrous memories...”. As the dandelion falls gently into the palm of the hand, the hand closes up, clasping the dandelion, adopting the shape of a fist. In the bottom panel, a frame is inserted showing the profile of a muscular, light-brown-skinned young man, with angular facial features, his eyes covered by shadows, his head wrapped in a turban. This is Zambo Dendé. The corners of his mouth are turned downwards, looking very serious, maybe angry. The man is staring at the dandelion clasped between his fingers. Image 2: A black-and-white high-contrast drawing with, on the left, menacing gods and goddesses, a cloak-wearing death-figure and men with swords (probably conquistadors), in an attacking attitude. They are confronting a group of men and women on the right side of the page, one of whom holds a baby in her arms. Some of the men are wearing feather headdresses—possibly resembling Indigenous people. They all look worried and scared. Behind this group of people there are pre-Columbian objects - a temple-like building and a monumental stone sculpture of a pre-Columbian deity. At the front of the group, in the foreground of the page, stands Zambo Dendé, wearing hoop earrings and a pectoral. He is very strong, with big, defined muscles. He has a chain wrapped around his left arm and is confronting the sword-bearing men. Running down the middle of the page, nine speech frames deploy the following texts: “The ancient legends of Latin America recount that, at the beginning of time, Bah-Chuệ, the supreme deity, conceived the cosmic gods, Karak-Quasim, Malak-Boaki, Waji-Ela and Sulai-Maka, to rule over all life in the universe from the sacred temple of Etherea. / Malak-Boaki gave shape to humanity and endowed it with the freedom that the gods enjoyed. This sparked the wrath of Karak-Quasim, the youngest and most despotic of the brothers, who felt that it would jeopardize the supremacy of the gods; he responded to the threat by creating the demigods, so that they could control and subjugate humanity. / The dark forces gave shape to the Unholy One, a man who would execute the vehement plan of the god Karak and in whose hands lay the full power of an onslaught that sought the destruction of all existing nature. / Legends also say that Malak-Boaki, aware of the situation, chose the man with the purest heart, full of courage and kindness, to become the protector of humanity. / From his emerald blood, Malak extracted his own amanola, the purest divine energy, and with it bestowed upon the chosen one the omnipotent gifts of the creator. / A rumour spread among the tribes of a pure man who would protect them from the evil of the invaders, the mercilessness of the demigods, and the wrath of the supreme creators./ Everyone baptized him as The Immaculate One and many say that he came to face the infinite power of the cosmic gods./ However, the conflict unleashed the anger of Bah-Chué and triggered his attack against the planet. / Now, the time of the last prophecy has begun and the destiny of humanity is in the hands of a mysterious heir.”
• Pibe: Póngase esta careta y dé bromas con ella a sus amiguitos del barrio

  The top of the page says "El Tony." Underneath, on the left side, it reads: "KID: Put on this mask and joke with it to your friends in the neighbourhood." In the centre of the page is an illustration of a face, drawn in black-out ink on a white background, which occupies most of the surface of the page. The face has a wide nose, large eyes, very large and thick lips with large white teeth and large ears that read "cut-out". Around the nose is a dotted line. On its upper left side, a small black top hat drawn on top of the head, which reads "El Tony is out on Wednesdays." Below the image, in the lower left corner of the page, it reads: "In next Wednesday's "El Tony" you can read: "The Mysterious Hand. By Farrigdon Detective." It's a nice adventure." In the lower right corner of the page is a small-scale illustration showing a group of white children surrounding two children wearing the mask, one of whom says to one of the white children "Don't you recognise me?", while another of the white children, looking at one of children wearing the masks, cries out, frightened, "Mom, help!"
• Artículo sobre el racismo: Por D. Mocoso

  Two pages of a zine are shown. A large three-quarter-page drawing shows two characters from the TV series Fantasy Island, standing against a background of low-income housing in Lima. One of them draws the other’s attention to a caricatured Black man in the foreground, using racist language; the Black man reacts angrily. Most of the rest of the pages have text discussing racism in Peru, which is presented as if paragraphs had been cut out and glued onto the page, slightly askew. At the bottom of the second page, there is a comic-strip of four panels, showing a cartoon round black face wondering what genetic ancestry a Peruvian person might have, other than the Indigenous and African parentage that all Peruvians supposedly have traces of. He concludes that it must be “the genes of the Chinese shopkeeper on the corner”.