[en] Comics are a popular means of communication in which the narration is resolved with drawings accompanied by brief texts and bubbles. They are published in series in strips or on pages of newspapers or as independent books and are used to narrate an anecdote, a joke or a story. Comics are easy to read, accessible to all audiences, and that is why they are important in children?s education, in the transmission of gender stereotypes and in political propaganda. The main function of comics is to entertain and only the best ones manage to do so. Not all comics have to be funny, but if they provoke a smile then they reach a wider audience. In the world of comics there are writers of witty scripts and extraordinary cartoonists of both sexes. There is also a lot of coarseness and vulgarity in the medium, and therefore one has to look hard to find those that are worthwhile.Although they have always received less publicity, there have been women authors of magnificent scripts and excellent cartoon drawings. There are quality feminist comics, which denounce, with humour, and therefore quite effectively, the selfishness of men and the unjust and unequal relations between the genders that still persist at the beginning of the 21st century because of patriarchal domination. We can also point out certain male authors who are sensitive to this topic, such as Semp?, Reiser, Quino, Forges4 (beginning in the 1980s) and ?lvarez Rabo. Like Ana Merino (2001), we believe that in the 1970s women began to create a feminist and alternative type of comic which narrates with humour the life experiences of real, credible, familiar women. We also find in them the reflection of female feelings and sexuality undistorted by an androcentric point of view. This kind of comic is new, often autobiographical, and women readers can identify with it. In feminist comics the authors express their malaise at feeling marginalized in today?s world, which is unjust, unequal and patriarchal. In this work we analyse feminist comics from the perspective of gender and look mainly at the image of women and the roles attributed to them because of their sex. Certain authors will be studied in particular. As a pioneering feminist, Nuria Pompeia stands out. In the 1970s she published some very expressive cartoons to illustrate texts of protest that appeared in the journal ?Vindicaci?n feminista? or in Lidia Falc?n?s book. In addition we take a look at the comics by Roberta Gregory, Mary Fleener, Claire Bret?cher, Maitena, Julie Doucet, Debbie Dreschler, Cathy Ghisewite Phoebe Gloeckner, Jessica Abel, Lynn Johston, Marjane Satrapi and Mirta Lamarca. A brief analysis is also made of super-woman, futuristic, and science fiction comics. Furthermore, a brief history is given of children?s comics in Franco?s Spain. The comics addressed to girls in the Spain of Franco?s time were very different from those their brothers read. The heroes were always male and the role reserved for women was that of the protagonist?s girlfriend ?the girls and women rarely experienced their own adventures. Comics for girls during the post-war era and the first years of Franco, such as those of the ?Azucena? collection, were quite boring, conservative and drippy; there only appeared woodcutters, princesses, little duchesses, fairies and princes and the story ended with the social ascent of the protagonist?as long as she was pious, docile, hard-working, obedient and had a good heart. After 1965 they changed somewhat and the stories of Prince Charming gave way to romantic stories. Certain comics more in touch with modernity can be highlighted, such as ?Florita? (1950s and 60s), ?Mary Noticias? (1960s), ?Lily? (1962), or ?Ester y su mundo? (1970s and 80s). The ?Little Lulu? comic strips meant a breath of fresh air for those of us who were little girls in the National-Catholic Spain of the 1960s, and in the 1970s, Quino?s Mafalda became very popular because it reflected with great wit the ideological changes and questions that concerned us at that historic moment.

[es] El c?mic es un medio de comunicaci?n popular en el que la narraci?n se resuelve con vi?etas dibujadas acompa?adas de globos y textos breves. Se editan en serie en tiras o p?ginas de los peri?dicos o en cuadernillos independientes y se utilizan para la narraci?n de una an?cdota, un chiste o un relato. Los c?mics son de f?cil lectura, asequibles para todos los p?blicos, por eso son importantes en la educaci?n infantil, en la transmisi?n de estereotipos de g?nero y en la propaganda pol?tica. La funci?n principal de los c?mics es entretener y ?nicamente los mejores lo logran. No todo el c?mic ha de ser chistoso pero si provoca la sonrisa consigue llegar a una mayor audiencia. En el c?mic existen autoras/es de guiones chispeantes y dibujantes de ambos sexos extraordinarios. Tambi?n hay bastante zafiedad y vulgaridad en el medio, por ello hay que rebuscar para encontrar los que merecen la pena.Pensamos que a pesar de que son menos publicitadas siempre ha habido autoras de magn?ficos guiones y excelentes dibujantes de nuestro sexo. Existe un c?mic feminista de calidad, en el que se denuncia, con humor y por tanto de una manera bastante eficaz, el ego?smo de los hombres y las injustas y desiguales relaciones entre g?neros que perviven todav?a en este inicio del siglo XXI, debido al dominio patriarcal. Destacamos a algunos hombres sensibles con el tema como Semp?, Reiser, Quino, Forges2 (de los a?os 80 en adelante) y ?lvarez Rabo. Pensamos con Ana Merino ( 2001) que las mujeres han creado a partir de los a?os 70 del siglo XX un c?mic alternativo y feminista en el que se narran con humor vivencias propias o de mujeres reales, cre?bles y pr?ximas; en ellos adem?s encontramos el reflejo de los sentimientos y de la sexualidad femeninos no distorsionados por la visi?n androc?ntrica. Este c?mic es una novedad, muchas veces es autobiogr?fico y en ?l las lectoras nos reconocemos. En el c?mic feminista las autoras expresan su malestar al sentirse marginadas en el mundo actual, injusto, desigual y patriarcal. En este trabajo los analizamos desde la perspectiva de g?nero y observamos principalmente la imagen femenina y los roles atribuidos seg?n el g?nero. Estudiamos en particular a algunas autoras. Como pionera feminista destaca Nuria Pompeia, que publicaba en los a?os 70 unas vi?etas muy expresivas ilustrando textos reivindicativos aparecidos en ?Vindicaci?n feminista? o en un libro de Lidia Falc?n, adem?s rese?amos los c?mics de: Roberta Gregory, Mary Fleener, Claire Bret?cher, Maitena, Julie Doucet, Debbie Dreschler, Cathy Ghisewite, Phoebe Gloeckner, Jessica Abel, Lynn Johston, Marjane Satrapi y Mirta Lamarca. Analizamos brevemente los c?mics de supermujeres, el c?mic futurista y el de ciencia ficci?n. Hacemos tambi?n una peque?a historia de los tebeos infantiles en la Espa?a de Franco. Los tebeos femeninos durante el franquismo eran diferentes a los que le?an nuestros hermanos, los h?roes casi siempre eran ellos y el papel reservado a nuestro sexo era el de la novia del protagonista pero pocas veces la protagonista de aventuras propias. Los tebeos femeninos durante la post-guerra y primeros a?os del franquismo, como los de la colecci?n ?Azucena?, eran bastante aburridos, conservadores y ?o?os; ?nicamente aparec?an le?adoras, princesas, duquesitas, hadas y pr?ncipes y la historia terminaba con el ascenso social de la protagonista, siempre y cuando ?sta fuera piadosa, d?cil, hacendosa, obediente y de buen coraz?n. A partir de 1965 cambiaron un poco y las historias de pr?ncipes azules dejaron sitio a historias rom?nticas. Hay que destacar como excepci?n algunos m?s acordes con la modernidad como ?Florita? (a?os 50 y 60), ?Mary Noticias? (a?os 60), ?Lily? (1962), o ?Ester y su mundo? (a?os 70 y 80). Tambi?n los tebeos de ?La peque?a Lul?? aportaron un poco de aire fresco para las ni?as que vivimos en los a?os 60 en la Espa?a nacional-cat?lica y, ya en los 70, ?Mafalda? de Quino se hizo muy popular porque reflejaba con genialidad los cambios ideol?gicos y los interrogantes que nos preocupaban en ese momento hist?rico.