He revolutionized a colonial pop-culture genre.

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His one-panel cartoons contained dystopian novels.


Devastatingly funny one week and bittersweet the next.

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Clockwork micro and macro tragedies awash in self-awareness.


His is a vision of Eden reimagined by Hieronymus Bosch.

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He transmuted Barthes-like semiotic insights into comic schtick.

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Hotspot’s debt to Burt Ward

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Hellena’s debt to Eva Peron

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Underboss’s debt to F.W. Murnau’s FAUST

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Lidia’s debt to Scilla Gabel

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Plenilunio’s debt to, among others, actor Germán Robles.


His simple cartoon was deeply sophisticated.


It’s the make-believe that we keep living in.


He gave life to Bugs Bunny, Daffy Duck, Porky Pig, and more!


His comics have a flavor of animation’s madness.


Eat your heart out, Indiana Jones.


The greatest, funniest cartoons of New York’s gutter age.

His panels and characters are bigger on the inside than on the surface.

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He creates black-and-white surreal masterpieces.


After 9/11, he mocked knee-jerk patriotism and dumb-ass foreign policy.

The hyperreal detail of his sci-fi comics anticipated hi-res CGI.

His Frankenstein was serious, then comical, then scary.

Innumerable artists have based their entire careers on the briefest of his ideas.

This post is a sequel to a more informal post at Crooked…