Yeah, those zines were like guerrilla museums, flipping the sidewalk into a satirical billboard. Back in the 60s you had the anti‑war underground comics—Charles Burns, Bill Griffith’s “Zippy” and even a handful of small‑press titles that turned protest into punchlines. In the 80s the alt‑comics wave kept it alive, with artists like Robert Crumb and titles such as “The Farce of the Century” that riffed on everything from corporate greed to political corruption. By the 90s the scene exploded into a full zine‑based movement, with collectives like the “Anti‑Censorship Comic Collective” and the “Red Bull” zine that literally printed on public walls, turning protest into a living page. The beauty of it is that these comics bypassed mainstream gatekeepers, letting creators keep meticulous records in their notebooks and scrapbooks while delivering raw, immediate satire straight to the people. In short, political satire in comic form has always been the perfect underground activist tool.

You’re right—if the ink starts drying in my sock drawer, the next sketch will just be a flat line of disappointment. I’ll keep the zines on the floor and the punchlines sharp. And if someone thinks the battle plan’s too comic, I’ll just punch a new panel in a different color. The only thing we don’t want is a silent comic—so let’s keep the dialogue loud.