Indeed, Mexican intellectuals such as Ilan Stavans agree that centuries-old pre-Columbian codices and other ancient documents could be seen as primary sources of the comics culture in the country.

[1] Another important influence has been the work of José Guadalupe Posada whose satirical cartoons helped create a political identity of visual art.

As a result of the harsh government repression, the political cartoon ("caricatura política") practically became the only means of free expression in those turbulent years.

The end of the Mexican Revolution marked the birth of a national comics industry that lasted many decades, with notable authors like Yolanda Vargas Dulché (founder of Grupo Editorial Vid), starring titles like Memín Pinguín, La Familia Burrón and Chanoc among many others.

Because of their success some comic book titles and their characters were even adapted into radio dramas and live action TV series and films during the 1960s and 1970s, among them Chanoc, Fantomas, Kalimán, Hermelinda Linda, Los Supermachos (in the 1974 film Calzonzin Inspector), Los Supersabios, El Santo, Tinieblas, Blue Demon, Capulina and Cepillín.

Other more recent comic strips that have found some unusual success thanks to the relatively new technology of Social Networks to promote themselves (in Twitter and Facebook respectively) have been the titles Cindy La Regia (2004) by Ricardo Cucamonga and Jours de Papier (2013).