Zino comic strip

Author: Hong Peiqi
Publisher:
Publish Date: 2001-01-01
Features: There are too many cartoonists in the world, countless in number. However, those who can be truly called world-class humor masters are as rare as morning stars. Among these few world humor masters, Argentina in South America undeniably holds two seats—this is the pair of Zino and Mordillo, who were born on the same day in the same month. This album introduces the cartoonist Zino and his representative works, including The Mongolian Doctor, Between the Sexes, and the series Mafalda. Zino, originally named Hokin Salvador Lavado, was born in Mendoza, Argentina, in August 1932 and later settled in Buenos Aires. Zino's uncle was a painter who specialized in commercial advertisements, and Zino was deeply influenced by him from a young age. In his youth, Zino studied at the Buenos Aires School of Fine Arts and later made painting his profession. On September 29, 1964, Zino published his series of comic strips Mafalda in the weekly magazine Close-Up in the capital, Buenos Aires. The following March, he launched a Mafalda comic strip column in The World, and from then on, his fame grew. In 1968, Mafalda was published as a standalone comic book in six languages, and thereafter, the comic images of Zino's creation, Mafalda and her friends, could be seen everywhere in the world. In addition to this comic strip, Zino also created numerous single-panel and serial comic works, which were published as comic books. Among the best-selling works are Who Put the Lantern Up in the Old Woods?, The Mongolian Doctor, and Between the Sexes, which established Zino's leading position in the world of comics. The main character of the series comic strip Mafalda is a little girl from an ordinary family. Her father is an employee of an insurance company, and her mother is a housewife. Mafalda is a very thoughtful child and embodies the ideal character as imagined by the author. She cares about current events, loves to think, has a sense of justice, and is always worried about the problems facing humanity. Additionally, she has a strange aversion to soup. Around Mafalda is a group of very interesting and adorable friends: Mafalda's good friend Philip is a kind, imaginative, and school-hating little boy. He is a fan of martial arts comics and always enjoys reading The Loner, just like Mafalda, he also hates soup. Manolo is the son of a businessman, and due to his family's influence, he is full of business ideas. He believes he can explain all the problems in the world in terms of money and is often mocked. Susana is a self-centered and vain little girl who fantasizes about becoming a wealthy wife and a prestigious doctor's mother. She looks down on the poor, and her corrupt thoughts are often attacked by Mafalda. Miguel is a self-important little boy who always believes he will become a great person in the future. Moreover, after Mafalda had been for several years, Mafalda met a very short friend named Freedom while on vacation at the beach. Later, Mafalda also gained a younger brother. These children, with their diverse appearances and personalities, live together every day, each with their own opinions and ideas. They sometimes engage in lively discussions and at other times argue over trivial matters, creating a lively and noisy atmosphere. In reality, Mafalda is not just a book for children; the author explicitly stated in the Mafalda comic book that it is intended for adults. This serialized work appears daily, and the author often uses the voice of the young protagonist to express his own views. Although each minor character has a distinct personality, they all possess mature thinking and have their own inclinations in terms of ideas and perspectives. In the comics The Mongolian Doctor and Between the Sexes, Zino uses a humorous and satirical approach to magnify the subtle aspects of human nature. The subjects may seem ordinary, but the implications are profound and lasting. Reading these works often leaves one laughing while also reflecting on deeper, unspoken meanings, making one realize that it is more about laughing at others than laughing at oneself. Some say that a good comic work is like an olive, leaving a lingering aftertaste. Zino's comic books The Mongolian Doctor and Between the Sexes are a perfect example of this. I greatly admire the grand scale and clever composition of's comics, the fluid and passionate lines of's comics, and the rich, mysterious, and primal romantic atmosphere of's comics. However, what truly moves Zino's comics is their sharp satire and biting irony. He excels at using the sharp gaze of an observer to critique human nature and dissect the myriad aspects of life, a characteristic thats The Mongolian Doctor, Between the Sexes, and the series Mafalda, as well as his other works. Whether in plot construction or in the portrayal and actions of comic characters, Zino is highly skilled in using exaggeration to achieve unique artistic effects. For example, in Mafalda, to depict a student's dislike of school, he exaggerates the scene of students weeping rivers of tears outside the school on the first day of classes (P. 213). Similarly, to satirize the merchant's in Manolo's shop, he uses the exaggeration of food in the display case being so rotten it can kill flies (P. 289) or of expired sausages being so hard they can be used as hammers to (P. 281), all of which are both amusing and humorous. In terms of character design, the comic characters in Zino's works not only have distinct personalities but are also extremely exaggerated, full of comic flavor. For instance, in Mafalda, Zino draws Mafalda and her friends so that they are of equal height from head to toe, looking delicate yet sturdy like scattered, jumping beans. When happy, Mafalda's mouth can stretch to her ears, and when angry, her eyes are as big as bells and her mouth occupies half her face. The actions of the comic characters are equally exaggerated, such as Mafalda's grown-up-like gesture of crossing her arms, or the way Manolo, with a cold, looks like a sick chicken leaning against the wall with his head hanging. These exaggerated actions are both adorable and vivid, truly brilliant. Historically, the criticism of comic works has tended to prioritize meaning over technique, often following the principle of "three parts meaning, seven parts technique." It is said that with a humorous atmosphere, there is naturally a high level and a masterpiece—this is not without reason. However, the works of a humor master must be both meaningful and technically skilled, otherwise, they cannot be considered a master. Zino's comics possess both meaning and technique, and they are numerous and excellent, rarely lacking in craftsmanship. This comic album is the best example of this. Whether one enjoys comics is a matter of personal taste, so let us leave more space for the readers to savor it carefully. May more people find inspiration and enjoyment in this rich and substantial comic album.