Over the coming decades, argues Yuval Noah Harari, bioengineering and infotech will radically alter the physiology and the psychology of Homo sapiens to such an extent that the process would bring about the advent of a new species of human being. This could lead to positive changes (extending lives and eradicating illnesses) but, as Harari adds, humanity has a bad track record in the way it has used the tools and technologies it has invented. Hence, a post-human world could also be one of drastic inequality and a lack of individual freedom. Governments are unprepared or unable to address this problematic, perhaps distracted by more present political and economic concerns. It is not surprising, in these circumstances, that speculation about post-human futures finds expression in cultural products, particularly through science fiction, a genre concerned with imagining the future, and humanity's place in that future, as well as giving voice to social anxieties and fears.

Having acutely explored, in previous works, the ways in which the cinema, literature and digital media of Latin America have dealt with technology, science and politics, Joanna Page and Edward King turn their attention in this monograph to graphic novels as informed by the conceptual framework of post-humanism. With very few exceptions (such as El Eternauta), Latin American graphic novels have been mostly ignored by academic scholarship. This could be considered a paradox since, as the authors claim, the graphic novel is essentially an urban cultural product. Since Latin America has become the most urbanised region in the world (the percentage of population that lives in cities is higher than in every other continent in the world), it is therefore unsurprising that the production of graphic novels in the region has flourished in recent years.

The authors are right in dismissing, from the beginning, the claim that post-humanism is a Eurocentric framework not suited to the analysis of Latin American culture (indeed, the region is inextricably linked to Western cultural, economic and political practices). They are also careful in their approach to post-humanism, adopting neither a celebratory stance (a process that liberates humanity from natural, biological determinism) nor an apocalyptic one (based on a conservative attachment to a humanist position that dismisses diversity and change). Instead, they embrace a series of frameworks and perspectives they refer to as critical post-humanism, applied to the interrogation of the intersections between subjectivity, biology, technology and the non-human in Latin America.

The result is an original, multi-layered and accomplished volume, in which the authors reveal how different theorisations of the post-human can be mapped onto a range of graphic novels produced over the last three decades, most of them situated within dystopian and science fiction genres. What the selected texts have in common is how they blur the lines that divide the human and the non-human, and how they deal with their representation. The book consists of seven chapters dedicated to works from Mexico (Edgar Clement's Los perros salvajes and Operación Bolívar), Brazil (O beijo adolescente and BioCyberDrama Saga) and the Southern Cone countries (La burbuja de Bertold, Planeta Extra, Reparador de sueños and Angela Della Morte from Argentina; Dengue from Uruguay; and E-Dem: La conspiración de la vida eterna, Las playas del otro mundo, Informe Tunguska, Policía del Karma and 1899: Cuando los tiempos chocan from Chile).

It is not possible to summarise one main argument, since the monograph offers instead a number of considerations on the post-human as it manifests in a number of social, political and biological spheres: individual bodies, the body politic, the environment, urban spaces and so on. These are based on close textual readings that pay attention not only to narrative, dialogue and visual design but also to the materiality of the selected books, discussing the ways in which they have been designed and distributed.

Thus, each chapter could well be read independently from the others, even though the reader may miss the continuities that underpin Latin American graphic fiction. One of them would be an intersection between these texts and contemporary social debates through the critique of specific national policies. In particular, these go from the war on drugs in Mexico to the neoliberal reforms in 1990s Argentina, and from the legacy of state violence in Chile to the organisation of the FIFA World Cup and the Olympic Games in Brazil in 2014 and 2016. Additional topics that the authors explore include the representation of the links between technology, dystopia and biopolitics in graphic novels from Argentina and Uruguay; the hybrid fictions that result from the combinations of indigenous Meso-American mythologies and beliefs with cyberpunk and fantasy in Las playas del otro mundo and Los perros slavajes; the intersection of neo-baroque aesthetics and the materiality of postmodern cultures in Operación Bolívar; and the denunciation of social exclusion and marginality among Brazilian urban youth cultures in O beijo adolescente (expressed through a topological representation of the city that underlines decentred global power and fluid urban interactions as a way to read contemporary urban spaces).

In order to illuminate the dialogues that these texts establish with post-humanism, the authors mobilise a wide gamut of theoretical frameworks in each chapter, from a number of disciplines that include sociology, cultural studies, anthropology, urban studies and philosophy (among others), which demonstrates the ambitious scope of this study. Inevitably, relying on so many different theorists could, on a few occasions, become difficult to balance. For example, it is strange to see, in Chapter 2, the thinking of Max Weber being criticised for its rationalist and scientificist focus. This is not wrong, but it is easy to refute Weber with the vantage point of a hundred years of history since his death. Overall, however, the authors construct a sophisticated analysis that weaves multiple and transdisciplinary approaches.

Thus, this monograph operates on three epistemic levels: a reflection on post-humanism in its many forms; an exploration of contemporary Latin American graphic novels; and a study of the connections between popular culture, politics and society in Latin America. Any reader interested in at least one of these areas would find this a challenging and rewarding book. Finally, given the importance of the materiality of texts (as underlined by the authors), it is worth mentioning that while this is an open access publication available as a free download, the printed edition is excellently illustrated, containing multiple colour figures from the graphic novels discussed.