Gilbert Hernandez (1957): Creator of Palomar and Co-Founder of Love and Rockets

Gilberto Hernández (born February 1, 1957), better known as Gilbert Hernandez and also affectionately called Beto, is a pioneering American cartoonist. He is best known for his acclaimed Palomar and Heartbreak Soup stories in Love and Rockets, the groundbreaking alternative comic book he created alongside his brothers Jaime and Mario Hernandez. Through his work, Gilbert has helped redefine the possibilities of graphic storytelling, especially in representing Latino culture, complex female characters, and narrative depth in comics.

Gilbert Hernandez

Early Life

Gilbert Hernandez was born in Oxnard, California, into a Mexican-American family. He was one of six brothers and one sister. The family was raised primarily by their mother and grandmother in a working-class neighborhood, while their father, though present at times, was largely absent. His mother’s passion for comics played a foundational role in shaping his and his siblings’ creative interests. She passed down her love for storytelling through comics, nurturing their imagination and creativity from an early age.

As a child, Gilbert immersed himself in comic books, admiring superhero titles, humor comics, and adventure stories, though he had little interest in romance comics. He was captivated by the dynamic visuals of artists like Jack Kirby, Steve Ditko, and Carmine Infantino, and found inspiration in the fun and energetic stylings of Archie creators like Dan DeCarlo and Harry Lucey. He also appreciated the imaginative layouts of underground cartoonists, especially those featured in Zap Comix, introduced to him by his older brother Mario.

The cultural and sonic influence of the California punk and hardcore scene also left an indelible mark. Growing up with constant exposure to rock and roll—bands like The Beatles, The Rolling Stones, and The Beach Boys—helped develop his appreciation for rhythm and narrative flow. In the late 1970s, punk’s DIY ethos would inspire him and his brothers to create comics on their own terms, without industry validation.

Gilbert’s high school experience was one of boredom and rebellion. He didn’t fit in with any specific crowd and preferred spending time drawing or going on trips to Los Angeles to absorb the city’s vibrant energy. He briefly took a night course in figure drawing but found the experience uninspiring, choosing instead to cultivate his skills through personal study and practice.

The Launch of Love and Rockets

In 1981, Mario, Jaime, and Gilbert Hernandez self-published the first issue of Love and Rockets, a black-and-white comic that reflected their shared passions for punk rock, science fiction, and realistic characters drawn from their Chicano heritage. Gilbert’s contribution introduced the fictional village of Palomar, while Jaime presented his Locas characters.

They submitted a copy of the comic to The Comics Journal, expecting harsh criticism but instead received praise and an offer to publish from Fantagraphics Books. The series debuted officially in 1982 and immediately stood out as a voice for the unheard—Latino communities, women, queer identities, and working-class people all found space in its pages.

Love and Rockets would go on to become one of the most critically acclaimed and influential alternative comics series of all time. Gilbert’s vision, in particular, helped expand the emotional and cultural scope of comics. The Hernandez brothers’ work challenged the dominant narratives in mainstream comics and redefined what graphic literature could be.

Palomar and Heartbreak Soup

Gilbert’s Heartbreak Soup saga debuted in Love and Rockets #3 in 1983 and introduced readers to the vibrant, emotionally intricate world of Palomar. The fictional Central American village became a stage for generations of compelling characters—artists, workers, healers, lovers—whose lives were shaped by family history, love, loss, and the rhythms of small-town life. Technology was virtually absent, creating a space where storytelling and interpersonal relationships flourished.

One of the central figures in Palomar is Luba, a strong, complex woman known for her fiery spirit and emotional depth. Luba became one of the most iconic characters in alternative comics and featured in many of Gilbert’s subsequent works. Her journey—from a single mother running a bathhouse to a migrant in the U.S. raising a family in a foreign land—embodied the broader experience of displacement, motherhood, and survival.

Gilbert’s Palomar stories grew increasingly ambitious, both in artistic execution and thematic scope. In Human Diastrophism, the village is shaken by the presence of a serial killer, a mentally fragile artist, and the creeping effects of modernization. The story is dense, layered, and richly rewarding, often likened to the work of Gabriel García Márquez for its magic realist qualities and sociopolitical commentary.

The Palomar cycle ended with the final issue of Love and Rockets’ first volume in 1996. Gilbert capped the story with a catastrophic earthquake, symbolically closing the era and sending many of his characters, including Luba and her family, into exile in the United States.

Solo Projects and Spin-Offs

After the conclusion of the first volume, Gilbert launched solo titles such as New Love, Luba, and Luba’s Comics and Stories, continuing the lives of characters introduced in Palomar. These stories followed Luba’s migration to America and her efforts to build a new life, often exploring themes of identity, generational trauma, and cultural dislocation.

He also served as the editor for the short-lived children’s comics anthology Measles, and collaborated with fellow alternative cartoonist Peter Bagge on Yeah! (1999–2000), a whimsical, all-ages series about a girl rock band performing in space. Despite critical interest, it was canceled after nine issues due to low sales.

In the 2000s, Gilbert returned to Love and Rockets with a second volume that allowed for shorter, self-contained stories. He also began experimenting with standalone graphic novels. Sloth (2006) told the surreal tale of a teen who wills himself into a coma, while Chance in Hell (2007), Speak of the Devil (2008), and The Troublemakers (2009) channeled pulp aesthetics in narratives framed as adaptations of fictional B-movies.

In 2008, Fantagraphics launched Love and Rockets: New Stories, a third volume in an annual graphic novel format. Gilbert alternated between new material and further adventures of his beloved characters. This period saw the release of critically acclaimed works like Julio’s Day, Marble Season, Maria M., Loverboys, and Garden of the Flesh, each showcasing different facets of his evolving vision—from intimate coming-of-age tales to erotic biblical allegories.

Style and Influences

Gilbert Hernandez’s artistic style is marked by bold, clean line work, expressive body language, and a deep concern for character psychology. His page layouts are often cinematic, combining a love of classic comic strip aesthetics with experimental panel transitions. He draws influence from both the heroic dynamism of Jack Kirby and the slice-of-life storytelling of Archie comics.

His stories are renowned for their diverse and nuanced female characters, their exploration of Latin American identity, and their commitment to reflecting the complexity of marginalized communities. Themes such as violence, sexuality, motherhood, religion, and the effects of political instability frequently appear in his work.

Critics and readers have described Gilbert’s style as magic realism, rooted in the rich narrative traditions of Latin American literature. He brings emotional realism to fantastical plots, portraying the messiness of human relationships and internal conflict with clarity and compassion.

Critical Acclaim and Cultural Impact

Gilbert Hernandez has achieved wide recognition as a master storyteller. Love and Rockets’ longevity and acclaim have positioned it as one of the most important works in modern comics history. Alongside his brother Jaime, Gilbert helped usher in a new age of autobiographical, culturally conscious, and artistically ambitious comics.

His Palomar stories, in particular, have earned comparisons to the literary fiction of William Faulkner and Toni Morrison for their sprawling cast, generational storytelling, and layered themes. His work has appeared in museum exhibitions, academic studies, and college curricula, especially in the fields of Latino studies, gender studies, and graphic narrative.

In 2009, Time named Gilbert and Jaime Hernandez among their “Top 100 Next Wave Storytellers,” recognizing their contribution to the evolution of storytelling across media. Gilbert has also co-starred with his wife Carol Kovinick in the surreal low-budget TV show The Naked Cosmos, a humorous and metaphysical satire of cosmic philosophy.

Awards and Recognition

• 1986 Kirby Award – Best Black & White Series (Love and Rockets)
• 1986 Inkpot Award
• 1989 Harvey Award – Best Writer, Best Continuing Series (Love and Rockets)
• 1990 Harvey Award – Best Writer, Best Continuing Series (Love and Rockets)
• 2001 Harvey Award – Best New Series (Luba’s Comics and Stories)
• 2004 Harvey Award – Best Single Issue (Love and Rockets #9)
• 2009 United States Artists Fellow Award
• 2013 PEN Center USA Graphic Literature Award – Outstanding Body of Work
• 2014 Eisner Award – Best Short Story (Untitled in Love and Rockets: New Stories #6)
• 2023 PEN Oakland/Josephine Miles Literary Award (Love and Rockets: The First Fifty)

Selected Bibliography

• Heartbreak Soup (2007, Fantagraphics)
• Human Diastrophism (2007, Fantagraphics)
• Beyond Palomar (2007, Fantagraphics)
• Sloth (2006, Vertigo)
• Chance in Hell (2007, Fantagraphics)
• Speak of the Devil (2008, Dark Horse)
• The Troublemakers (2009, Fantagraphics)
• Julio’s Day (2013, Fantagraphics)
• Maria M. (2013–2014, Fantagraphics)
• Marble Season (2013, Drawn & Quarterly)
• Loverboys (2014, Dark Horse)
• Garden of the Flesh (2016, Fantagraphics)
• Blubber (2015–present, Fantagraphics)

Gilbert Hernandez has reshaped the landscape of comics with a body of work that is as human, vibrant, and challenging as the real world it mirrors. His narratives about identity, migration, community, and personal growth have set a new standard for what comics can express. Whether chronicling the quiet struggles of everyday life or exploring the surreal and fantastical, Gilbert continues to be one of the most vital and visionary voices in graphic storytelling today.

Through Love and Rockets, Palomar, and dozens of solo works, he has established himself as a towering figure in comics—one whose influence stretches across cultures, generations, and mediums. His legacy continues to inspire new waves of creators committed to telling authentic, diverse, and deeply human stories.