Many stories can be read within the history of comics. The mere mention of the term brings to mind the genre’s battle to legitimize itself as an important artistic and cultural form. However you look at it, the history of comics is also that of its struggle against power, against the constituted forms of what can and cannot be said (and shown). Most likely, no other of fine art has been so controlled, censored, and despised –even within the art world– as the form of art that Will Eisner preferred to call «sequential.»

Muchas historias pueden leerse en la Historia del cómic, tebeo o historieta. La sola mención de estos tres nombres para el mismo género trae a cuento el interminable debate por elegir el apropiado, evidencia de su lucha por legitimarse como una forma artística y cultural de importancia. Se mire por donde se mire, la Historia del cómic es también la de su lucha contra el poder, contra las formas constituidas de lo que se puede y no se puede decir (y mostrar).

Los olvidados niños de la calle («The Forgotten Children of the Streets) is a tribute to the film by Luis Buñuel. I advise you to see it; it is a true masterpiece, with wonderful cinematography. It’s a portrait of its time. A sad and beautiful story, very much of its time, halfway between documentary and realist | … |