{"id":16193,"date":"2025-11-20T11:43:30","date_gmt":"2025-11-20T10:43:30","guid":{"rendered":"https:\/\/www.imex-revista.com\/xxviii-el-espacio-distopico-y-la-resistencia-en-ecatepunk-de-joshua-hernandez\/"},"modified":"2025-11-20T11:43:30","modified_gmt":"2025-11-20T10:43:30","slug":"xxviii-el-espacio-distopico-y-la-resistencia-en-ecatepunk-de-joshua-hernandez","status":"publish","type":"post","link":"https:\/\/www.imex-revista.com\/en\/xxviii-el-espacio-distopico-y-la-resistencia-en-ecatepunk-de-joshua-hernandez\/","title":{"rendered":"XXVIII. Alfredo Guzm\u00e1n Tinajero \u2013 El espacio dist\u00f3pico y la resistencia en Ecatepunk"},"content":{"rendered":"[vc_row type=&#8221;full_width_background&#8221; full_screen_row_position=&#8221;middle&#8221; column_margin=&#8221;default&#8221; column_direction=&#8221;default&#8221; column_direction_tablet=&#8221;default&#8221; column_direction_phone=&#8221;default&#8221; bg_image=&#8221;31&#8243; bg_position=&#8221;left top&#8221; background_image_loading=&#8221;default&#8221; bg_repeat=&#8221;repeat&#8221; scene_position=&#8221;center&#8221; top_padding=&#8221;0&#8243; bottom_padding=&#8221;30&#8243; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; row_border_radius=&#8221;none&#8221; row_border_radius_applies=&#8221;bg&#8221; overflow=&#8221;visible&#8221; overlay_strength=&#8221;1&#8243; gradient_direction=&#8221;left_to_right&#8221; shape_divider_position=&#8221;bottom&#8221; bg_image_animation=&#8221;none&#8221; parallax_bg=&#8221;true&#8221; parallax_bg_speed=&#8221;slow&#8221; 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column_border_style=&#8221;solid&#8221;][vc_column_text css=&#8221;&#8221; text_direction=&#8221;default&#8221;]\n<p style=\"text-align: center;\"><a class=\"nectar-button n-sc-button small accent-color has-icon regular-button\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Ausgabe-XXVIII_Final-2.pdf\" data-color-override=\"false\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Download Edici\u00f3n<\/span><i class=\"icon-button-arrow\"><\/i><\/a> <a class=\"nectar-button n-sc-button small accent-color has-icon regular-button\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/04_Ecatepunk_Guzman.pdf\" data-color-override=\"false\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Download Art\u00edculo<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n[\/vc_column_text][vc_row_inner column_margin=&#8221;default&#8221; column_direction=&#8221;default&#8221; column_direction_tablet=&#8221;default&#8221; column_direction_phone=&#8221;default&#8221; text_align=&#8221;left&#8221; row_position=&#8221;default&#8221; row_position_tablet=&#8221;inherit&#8221; row_position_phone=&#8221;inherit&#8221; overflow=&#8221;visible&#8221; pointer_events=&#8221;all&#8221;][\/vc_row_inner][vc_column_inner column_padding=&#8221;no-extra-padding&#8221; column_padding_tablet=&#8221;inherit&#8221; column_padding_phone=&#8221;inherit&#8221; column_padding_position=&#8221;all&#8221; column_element_direction_desktop=&#8221;default&#8221; column_element_spacing=&#8221;default&#8221; desktop_text_alignment=&#8221;default&#8221; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_backdrop_filter=&#8221;none&#8221; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; column_link_target=&#8221;_self&#8221; overflow=&#8221;visible&#8221; gradient_direction=&#8221;left_to_right&#8221; overlay_strength=&#8221;0.3&#8243; width=&#8221;1\/1&#8243; tablet_width_inherit=&#8221;default&#8221; animation_type=&#8221;default&#8221; bg_image_animation=&#8221;none&#8221; border_type=&#8221;simple&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][\/vc_column_inner][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;30&#8243;][vc_column_text css=&#8221;&#8221; text_direction=&#8221;default&#8221;]\n<h3 style=\"text-align: center;\"><strong><span style=\"color: #b0b0b0;\">\u00bfC\u00f3mo llegamos aqu\u00ed?<br \/>\nEl espacio dist\u00f3pico y la resistencia en <em>Ecatepunk<\/em> de Joshua Hern\u00e1ndez<br \/>\n(pp. 77-101; DOI: 10.23692\/iMex.28.5)<\/span><\/strong><\/h3>\n[\/vc_column_text][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;80&#8243;][vc_column_text css=&#8221;&#8221; text_direction=&#8221;default&#8221;]\n<p style=\"text-align: center;\"><div class=\"ead-preview\"><div class=\"ead-document\" style=\"position: relative;\"><div class=\"ead-iframe-wrapper\"><iframe src=\"\/\/docs.google.com\/viewer?url=https%3A%2F%2Fwww.imex-revista.com%2Fwp-content%2Fuploads%2F04_Ecatepunk_Guzman.pdf&amp;embedded=true&amp;hl=en\" title=\"Embedded Document\" class=\"ead-iframe\" style=\"width: 80%;height: 80%;border: none;min-height: 500px;visibility: hidden;\"><\/iframe><\/div>\t\t\t<div class=\"ead-document-loading\" style=\"width:100%;height:100%;position:absolute;left:0;top:0;z-index:10;\">\n\t\t\t\t<div class=\"ead-loading-wrap\">\n\t\t\t\t\t<div class=\"ead-loading-main\">\n\t\t\t\t\t\t<div class=\"ead-loading\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/loading.svg\" width=\"55\" height=\"55\" alt=\"Loader\">\n\t\t\t\t\t\t\t<span>Loading...<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<div class=\"ead-loading-foot\">\n\t\t\t\t\t\t<div class=\"ead-loading-foot-title\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/EAD-logo.svg\" alt=\"EAD Logo\" width=\"36\" height=\"23\"\/>\n\t\t\t\t\t\t\t<span>Taking too long?<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<div class=\"ead-document-btn ead-reload-btn\" role=\"button\">\n\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/reload.svg\" alt=\"Reload\" width=\"12\" height=\"12\"\/> Reload document\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<span>|<\/span>\n\t\t\t\t\t\t\t<a href=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/04_Ecatepunk_Guzman.pdf\" class=\"ead-document-btn\" target=\"_blank\">\n\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/open.svg\" alt=\"Open\" width=\"12\" height=\"12\"\/> Open in new tab\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div><\/div>\n[\/vc_column_text][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;80&#8243;][vc_column_text css=&#8221;&#8221; text_direction=&#8221;default&#8221;]\n<h3><span style=\"color: #ffffff;\"><strong><span style=\"color: #b0b0b0;\">Alfredo Guzm\u00e1n Tinajero <\/span><\/strong><\/span><\/h3>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-15926 size-medium alignleft\" src=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Retrato_Guzman-Tinajero-e1763636853900-236x300.webp\" alt=\"\" width=\"236\" height=\"300\" srcset=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Retrato_Guzman-Tinajero-e1763636853900-236x300.webp 236w, https:\/\/www.imex-revista.com\/wp-content\/uploads\/Retrato_Guzman-Tinajero-e1763636853900-804x1024.webp 804w, https:\/\/www.imex-revista.com\/wp-content\/uploads\/Retrato_Guzman-Tinajero-e1763636853900.webp 1147w\" sizes=\"auto, (max-width: 236px) 100vw, 236px\" \/><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">Alfredo Guzm\u00e1n Tinajero estudi\u00f3 la Licenciatura de Literatura Inglesa en la Universidad Aut\u00f3noma de M\u00e9xico. Realiz\u00f3 un M\u00e1ster en Literatura Comparada en la Universidad Aut\u00f3noma de Barcelona con una tesina sobre el espacio narrativo en el c\u00f3mic <em>Palomar<\/em> de Gilbert Hernandez. En la misma universidad realiz\u00f3 el doctorado en teor\u00eda literaria y literatura comparada con la tesis Figuraciones del yo en el c\u00f3mic contempor\u00e1neo. Ha participado en diversos coloquios internacionales y publicado art\u00edculos sobre c\u00f3mics, escrituras del yo, memoria y c\u00f3mic documental. Actualmente es investigador posdoctoral en la Universidad Aut\u00f3noma del Estado de Morelos. Es miembro del Sistema Nacional de Investigadores. Coordina el Seminario de Estudios de C\u00f3mics (SECO). Es miembro de RING. Tambi\u00e9n es copresentador del podcast <em>Conversac\u00f3mix<\/em>.<br \/>\n<\/span><\/p>\n<p>&nbsp;<\/p>\n<h3><\/h3>\n<h3><\/h3>\n<p>&nbsp;<\/p>\n<h3><\/h3>\n[\/vc_column_text][divider line_type=&#8221;Full Width Line&#8221; line_thickness=&#8221;3&#8243; divider_color=&#8221;extra-color-2&#8243; custom_height=&#8221;80&#8243;][tabbed_section style=&#8221;default&#8221; tab_change_animation=&#8221;fade&#8221; alignment=&#8221;left&#8221; spacing=&#8221;default&#8221; tab_color=&#8221;Accent-Color&#8221; vs_content_animation=&#8221;fade&#8221; vs_link_animation=&#8221;opacity&#8221; vs_navigation_alignment=&#8221;left&#8221; vs_navigation_width_2=&#8221;25%&#8221; vs_navigation_func=&#8221;default&#8221; vs_navigation_width=&#8221;regular&#8221; vs_navigation_spacing=&#8221;15px&#8221; vs_navigation_mobile_display=&#8221;visible&#8221; vs_tab_spacing=&#8221;5%&#8221;][tab icon_family=&#8221;none&#8221; title=&#8221;Abstract&#8221; id=&#8221;1770658968246-7&#8243; tab_id=&#8221;1770658968246-7&#8243;][vc_column_text css=&#8221;&#8221; text_direction=&#8221;default&#8221;]<span style=\"color: #999999;\">Dystopias are not planned projects of oppression, but consequences of human mistakes, warnings of what can happen if social, ecological and political devastation continues. In them, survival, resistance and the struggle for power are the main forms of existence. Moreover, their representation in fiction is linked to the geography and context of each society, making Latin American dystopias nourished by their own history of dictatorships, conflicts and disasters. The essay analyzes how the comic Ecatepunk (2020) by Joshua Hern\u00e1ndez represents a dystopian space in Ecatepec, Mexico in which elements of resistance to real-world violence, such as gender violence, are established and constructed. Dystopia, once only an imagined possibility, has become a latent reality, reflecting social, economic and political collapse. Using recognizable elements, resistance to the creatures that seek to dominate the world and to rebuild society from the ruins of the periphery is elaborated.<\/span>[\/vc_column_text][\/tab][tab icon_family=&#8221;none&#8221; title=&#8221;Resumen&#8221; id=&#8221;1770658968279-1&#8243; tab_id=&#8221;1770658968280-10&#8243;][vc_column_text css=&#8221;&#8221; text_direction=&#8221;default&#8221;]<span style=\"color: #999999;\">Las distop\u00edas no son proyectos planeados de opresi\u00f3n, sino consecuencias de errores humanos, advertencias de lo que puede suceder si la devastaci\u00f3n social, ecol\u00f3gica y pol\u00edtica contin\u00faa. En ellas, la supervivencia, la resistencia y la lucha por el poder son las principales formas de existencia. Adem\u00e1s, su representaci\u00f3n en la ficci\u00f3n est\u00e1 ligada a la geograf\u00eda y contexto de cada sociedad, haciendo que las distop\u00edas latinoamericanas se nutran de su propia historia de dictaduras, conflictos y desastres. El ensayo analiza c\u00f3mo el c\u00f3mic Ecatepunk (2020) de Joshua Hern\u00e1ndez representa un espacio dist\u00f3pico en Ecatepec, M\u00e9xico en el que se establecen y construyen elementos de resistencia ante la violencia del mundo real, como la violencia de g\u00e9nero. La distop\u00eda, que antes era solo una posibilidad imaginada, se ha convertido en una realidad latente, reflejando el colapso social, econ\u00f3mico y pol\u00edtico. A trav\u00e9s del uso de elementos reconocibles se elabora una resistencia a las criaturas que pretenden dominar el mundo y para reconstruir la sociedad desde las ruinas de la periferia.<\/span>[\/vc_column_text][\/tab][tab icon_family=&#8221;none&#8221; title=&#8221;iMex N\u00b028 | La Historieta en M\u00e9xico &#8211; Perspectivas interdisciplinares&#8221; id=&#8221;1770658968293-6&#8243; tab_id=&#8221;1770658968293-4&#8243;][vc_column_text css=&#8221;&#8221; text_direction=&#8221;default&#8221;]\n<p style=\"text-align: left;\"><span style=\"color: #b0b0b0;\"><strong>Introducci\u00f3n<\/strong><\/span><\/p>\n<p style=\"text-align: left;\"><a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/xxviii-introduccion\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXVIII. Laura Nallely Hern\u00e1ndez Nieto \/ Jasmin Wrobel \u2013 Introducci\u00f3n<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<p style=\"text-align: left;\"><span style=\"color: #b0b0b0;\"><strong>Art\u00edculos <\/strong><\/span><\/p>\n<p style=\"text-align: left;\"><a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/xxviii-interpretaciones-del-68-en-la-historieta-el-ultimo-tramo-del-siglo-xx-en-mexico\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXVIII. E. R. Espinosa Lucas \u2013 Interpretaciones del 68 en la historieta <em>El \u00faltimo tramo del siglo XX en M\u00e9xico<\/em><\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<p style=\"text-align: left;\"><a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/xxviii-la-pervivencia-de-la-memoria-en-la-historieta\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXVIII. Sarahi I. Castelli Olvera \u2013 La pervivencia de la memoria en la historieta mexicana: <em>El Trayecto<\/em> (2021)<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<p style=\"text-align: left;\"><a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/xxviii-appropriating-the-colonial-icon-befs-uncle-bill\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXVIII. Mar\u00eda Porras S\u00e1nchez \u2013 Appropriating the (Colonial) Icon: BEF's <em>Uncle Bill<\/em><\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<p style=\"text-align: left;\"><a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/xxviii-el-espacio-distopico-y-la-resistencia-en-ecatepunk-de-joshua-hernandez\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXVIII. Alfredo Guzm\u00e1n Tinajero \u2013 El espacio dist\u00f3pico y la resistencia en <em>Ecatepunk<\/em> <\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<p style=\"text-align: left;\"><a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/xxviii-neo-nagualismo-grafico\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXVIII. Felipe G\u00f3mez Guti\u00e9rrez \u2013 Neo-nagualismo gr\u00e1fico<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<p><span style=\"color: #b0b0b0;\"><strong>Entrevistas<\/strong><\/span><\/p>\n<p style=\"text-align: left;\"><a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/xxviii-entrevista-a-jose-luis-pescador\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXVIII. Ignacio Ballester Pardo \u2013 Entrevista a Jos\u00e9 Luis Pescador<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<p style=\"text-align: left;\"><a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/xxviii-entrevista-a-idalia-candelas\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXVIII. Laura Nallely Hern\u00e1ndez Nieto \u2013 Entrevista a Idalia Candelas<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n[\/vc_column_text][\/tab][\/tabbed_section][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row type=&#8221;full_width_background&#8221; full_screen_row_position=&#8221;middle&#8221; column_margin=&#8221;default&#8221; column_direction=&#8221;default&#8221; column_direction_tablet=&#8221;default&#8221; column_direction_phone=&#8221;default&#8221; bg_image=&#8221;31&#8243; bg_position=&#8221;left top&#8221; background_image_loading=&#8221;default&#8221; bg_repeat=&#8221;repeat&#8221; scene_position=&#8221;center&#8221; top_padding=&#8221;0&#8243; bottom_padding=&#8221;30&#8243; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; row_border_radius=&#8221;none&#8221; row_border_radius_applies=&#8221;bg&#8221; overflow=&#8221;visible&#8221; overlay_strength=&#8221;1&#8243; gradient_direction=&#8221;left_to_right&#8221; shape_divider_position=&#8221;bottom&#8221; bg_image_animation=&#8221;none&#8221; parallax_bg=&#8221;true&#8221; parallax_bg_speed=&#8221;slow&#8221; shape_type=&#8221;&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_tablet=&#8221;inherit&#8221; column_padding_phone=&#8221;inherit&#8221;&#8230;<\/p>\n","protected":false},"author":12,"featured_media":16021,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[580,2540],"tags":[],"class_list":["post-16193","post","type-post","status-publish","format-standard","has-post-thumbnail","category-issues","category-xviii-la-historieta-en-mexico"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>XXVIII. 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