This chapter starts by considering how comic art is transformed when it is photocopied, with successive generations of copies creating a grainy “xerox effect” (Eichhorn) that signifies a commitment to handmade production and nostalgia both for analogue technology and radical activism. Making minicomics that exhibit this graininess is an act of cultural politics, a rejection of the notion that the only desirable text is standardized and perfectly drawn. This leads to the question of which is the purest comic: the one with crystal-clear reproduction or the grainy photocopied text that bespeaks artistic autonomy? However, photocopied minicomics have received strident criticism. Artists and journalists object that the informal nature of the medium encourages a careless attitude towards the quality of art. Beyond minicomics, when artists photocopy their own panels to achieve a particular effect, they are accused of cheating or lacking sufficient material. The chapter ends with Garry Trudeau’s newspaper strip Doonesbury and the satirical possibilities of strips where every panel is—or is nearly—identical, concluding with Doonesbury strips in which photocopying is part of the joke.