The storm abates and returns, including the following week on November 16, 1972, sporting one of Arriola's trademark philosophical punchlines.

Previously, during one of his visits, (as related here by Pepito to the "guhl nex' dah," Texan expatriate Mary Frances Sevier) Knott had found the solution to writers' block in a hallucinogenic toadstool which uniquely grew only in Del Monte.

By mid-April, Gordo has fully reconstructed his signature silhouette.

For the last one of this batch, here's a showcase of many of Arriola's later-career trademarks: Bold organic sound effects, expressive movement, folkloric design inspiration, soft-heartedness towards wild animals and, lastly, Poosy Gato. (February 22, 1976)

The Playworms -- Porfirio and Panchito -- were regular occupants of Gordo's later Sunday strips, which were dominated by nature themes and ambitious layout and coloring. (July 18, 1976)

April 25, 1976, Popo skips crowing in favor of quoting the opening lines of the Rubaiyat of Omar Khayyam, for the poetry-loving readers out there ...

One of the ways in which Arriola dealt with the shrinking real estate of the funny papers was the move the dialogue out of balloons and into their own isolated panels, such as with the back-and-forther between Poosy Gato and Owl in this strip from February 29, 1976.

This strip from October 13, 1974, not only captures the unfortunately all-too-familiar creakiness of age, but also puts Arriola's iconic lettering on display.

Gordo suffers the myriad of abuses to which the dandy dude is heir, in this strip from March 17, 1974.

From Aug. 29, 1971, here's the Sunday strip that I was most looking forward to receiving from this latest batch -- Gordo's housekeeper (and, eventually, wife) Tehuana Mama falls prey to a a highly kinetic kitty.