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Pablo D. Santonja | @datosantonja
The Cristero War (1926-1929) was an armed conflict in Mexico between the government of Plutarco Elías Calles and groups of Catholics who rose up in defense of religious freedom, after the implementation of laws that severely restricted worship practices. The anticlerical policies culminated in the prohibition of religious acts and the expropriation of ecclesiastical property, causing a rebellion that spread mainly in the center and west of the country. The Cristeros, mostly peasants, adopted the motto “Long live Christ the King!” as a war cry. After years of violence, negotiations mediated by the Vatican led to a fragile agreement in 1929, although tensions between Church and State persisted.
The new adventure of our non-hero is situated under this historical framework. Corto Maltesein a new saga configured by the authors Juan Diaz Canales (Blacksad) and the cartoonist Ruben Pellejero (Barcelona: Alma negra), a work of narrative virtuosity that brings back the spirit of adventure in its greatest splendor. So we meet with its authors to engage in an hour-long conversation where we talk about legacy, iconic weight, secrets and references to the work of Hugo Pratt.
Díaz Canales and Pellejero have managed to return Corto Maltés to the central place it deserves in the panorama of graphic narrative with a deep respect for the work of Hugo Pratt and an indisputable talent
Corto Maltese, the iconic sailor created by Hugo Pratt in 1967, is a figure that embodies the spirit of adventure. With his characteristic hat, his sailor jacket and his constant cigarette, he became a symbol of European graphic narrative and left a legacy that has remained alive even after the death of his creator in 1995, now facing a new era.
Hugo Pratt imagined Corto Maltese as a romantic adventurer, an antihero in search of freedom and meaning in a world full of conflict. Pratt’s stories, such as The Ballad of the Salt Sea either Fable of Veniceare known for mixing action and mysticism while placing the protagonist in a rich and carefully researched historical setting. The themes of justice, moral ambiguity and criticism of human greed run through the pages of his comics, in which Corto appears as a privileged witness of the events that shaped the 20th century, almost configuring a secondary character in the future of the story.
Its iconography, perfectly captured by Rubén Pellejero, with simple but elegant lines, captures and evokes that Corto, an easily recognizable character, whose face and figure became emblems of the “bande dessinée”.
In 2015, Juan Díaz Canales and Rubén Pellejero took the reins of the saga with Under the midnight suna work that deeply respected Pratt’s original spirit while offering a fresh vision. This decision generated great expectation and, at the same time, many challenges: how to reinterpret such an iconic character without betraying its essence?
Díaz Canales, known for his work blacksadis a master at weaving complex narratives with memorable characters. In his Corto Maltese stories, he has maintained Pratt’s tradition of exploring rich historical and cultural landscapes, while delving into the emotions and internal conflicts of the protagonist. However, Díaz Canales is not afraid to subtly modernize certain elements, introducing more introspective dialogues and addressing current issues in a veiled way, such as the impact of imperialism and social tensions.
Rubén Pellejero, whose elegant and expressive style had shone in works such as Barcelona, Black soulmanages in his drawings to capture the essence of Pratt’s lines without falling into mere imitation. The clear line that characterizes Corto Maltés is preserved, but Pellejero adds a freshness and dynamism that revitalizes the visual narrative. And of course, the use of color, more refined than in the original works, enriches the atmospheres and landscapes, transporting the reader to the ends of the world that Corto explores, with powerful images and landscapes that capture the essence of a wild and hot Mexico. .
Under the hand of Díaz Canales y Pellejero, the iconography of Corto Maltés has undergone a subtle but significant evolution. The Sailor remains the melancholy-eyed, free-spirited adventurer readers have loved for decades, but now his stories have a more contemporary and resonant edge. The collaboration of these authors not only honors Pratt’s legacy, but also guarantees that new generations can discover and connect with this timeless character, finding gifts for the reader such as in the volume at hand, “The Line of Life”, Let’s find the first cover of Corto Maltes in Europe that does not appear dressed in his characteristic clothing.
Díaz Canales and Pellejero have managed to return Corto Maltés to the central place it deserves in the panorama of graphic narrative with a deep respect for the work of Hugo Pratt and an indisputable talent. They have kept the sailor sailing through unknown waters, conquering hearts and attracting new readers. Corto Maltés in the essence of the journey itself, a journey that serves as a transversal metaphor for this volume, “The Line of Life”.
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