This chapter shows how the political struggles at the core of the underground comix experience have been culturally adapted in the Italian translations with outcomes often radically divergent from the source materials. Comix embodied and thematised the turmoil of the 1960s and 1970s in the US. Their satire is imbued with niche and obscure references to the socio-cultural environment of that time (Anderson 1995). Two opposing tendencies emerge in this respect. Militant, independent publishers (e.g., Arcana and Stampa Alternativa) interpreted underground comix within the frame of the Italian cultural and political climate, especially during the 1970s. The perceived ideological proximity between the US counterculture and the Italian radical Left underground scene made certain changes easier. These changes involved not only toponyms and characters’ names, but also US culturemes and references. In addition, certain stories and images used in the comix panels were seen as an opportunity to include references to Italian politics and society, regardless of the source texts. New isotopies from the target culture have been created in this process. By contrast, more recently, mainstream publishers (e.g., Mondadori and Comicon) backgrounded the political undertones of comix and preferred neutralising strategies and cultural filtering, avoiding politically connoted words and reframing stories with farcical rather than militant undertones. Several examples are taken from Shelton, G. (wri/art) (1984[1998]) Freak Brothers e Altre Storie, feat. Paul Mavrides (art) and Dave Sheridan (art), Rome: Stampa Alternativa. The Fabulous Furry Freak Brothers, discussing the adaptation of the three brothers’ fights against law enforcement and authorities, Marxist references, and the comix’ anti-bourgeois stance. Excerpts from Crumb’s works are also analysed, from the early satirical adventures of Fritz the Cat to the comic strip “Whiteman” and the authors’ personal criticism of ‘Americanism’ and its values.