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In this article, I show how Mexican artists Edgar Clément and Tony Sando-val work through representations of mutable, gendered bodies to explore the manifestations of neoliberalism and the kinds of violence that are encouraged or facilitated within that socioeconomic framework. More specifically, I argue that both artists make use of a wide range of monsters and monstrous characters to revelatory effect as they employ a series of specifically Mexican monsters to relate multifaceted stories of violence on a personal and systemic level. This is particularly true regarding their construction and positioning of la Malinche or malinchista characters as the monstrous/revelatory centers of each text. Lastly, I argue that the use of an open medium such as comics/graphic narrative provides both artists with an ideal platform to relate issues of drug-related violence and trauma for two reasons: first, it interrogates what Oswaldo Zavala has called the critical limits of narconarrative, as both texts refuse to present drug or other violence as disconnected from the nation and the state. Secondly, this interroga-tive power is due in part to the way in which the Mexican reading public has historically been trained to consume and interact with graphic narrative.
