JD Santibáñez Comic Book Life

3era Convención Nacional del Cómic Guayaquil 2007

2011-06-05T08:14:00.000-07:00

Propuesta de afiche para la 3era Convención Nacional del Cómic Guayaquil 2007, realizado por Gabriela Cordero, con unos toques de mi parte.

Una nueva versión:

Ecuador Ninja 1

2010-04-08T19:58:00.000-07:00

A very old one. After reading Eric Van Lustbader´s novel, The Ninja, I wanted to introduce a martial arts comic to the Guayaquilean public. I was not very successful, but it was a good effort.

Guayaquil de Mis Temores

2010-03-03T11:41:00.000-08:00

This is Guayaquil de Mis temores, a Sunday strip published in Diario Expreso, during the eighties. It only lasted 8 months or so. They didn´t pay me. I had to get a sponsor to pay 25000 sucres (a big amount at the time) to get it published weekly.

Ficciónica (Complete)

2010-02-10T20:30:00.000-08:00

This is Ficciónica, a three-issue story I published a long time ago. It was fun to do it. All by hand. No computers at the time.

Shadowcat

2010-01-03T06:44:00.000-08:00

An early attempt in defining Shadowcat.

Rompehuesos (Bonebreaker) —Incomplete

2009-08-17T07:02:00.000-07:00

These are the first three pages in the comic book adaptation of my story Bonebraker. It was published only in text form.

El Caudillo

2009-08-16T22:10:00.000-07:00

Caperu Sama

2009-08-16T21:54:00.001-07:00

AD People 1

2009-08-16T21:15:00.000-07:00

This a very old strip.

Pedestrian 2

2009-08-13T20:12:00.001-07:00

Pandora (Complete)

2009-08-13T19:47:00.000-07:00

Lluvia Negra - Black Rain (Complete)

2009-08-11T22:19:00.001-07:00

Nohemín & Jazahelia (Complete)

2009-08-10T20:05:00.000-07:00

El Quinto Hombre (Complete)

2009-08-10T19:31:00.000-07:00

NOIR (Complete)

2009-08-09T21:25:00.000-07:00

Comic Book (Complete)

2009-07-31T21:31:00.001-07:00

Crazy Cowboy 2 (Complete)

2009-07-29T05:37:00.001-07:00

Crazy Cowboy 1 (Complete)

2009-07-29T05:05:00.000-07:00

Vengeance is mine (Complete)

2009-07-11T08:58:00.001-07:00

Bad Company

2009-05-19T22:37:00.000-07:00

El Mago for Zuda

2009-05-19T11:22:00.000-07:00

These screens were done for www.zuda.com. They are from my novel El Mago (The Wizard). The illustrations were done by Santiago Sojos.

El Universo. May 13th, 2009

2009-05-19T10:17:00.000-07:00

El cómic local gana espacio

La presentación de La segunda venida, primera historieta cristiana en el Ecuador, según indica su creador, Jonathan Zambrano, de 32 años, marca una nueva etapa en la vida del cómic nacional. Así lo dicen también gestores y amantes de este arte, que tiene 124 años de historia en el Ecuador y que ha dejado a su paso más de una treintena de trabajos, entre tiras, historietas y libros de personajes de ficción. La primera obra del género fue la revista El Perico.

La apuesta de Zambrano, que relata partes del libro del Apocalipsis de la Biblia mezclados con una dosis de ficción, circula desde el 3 de mayo pasado, día en que el Cómic Club de Guayaquil inició actividades por el Supermes del Cómic.

“La segunda venida se muestra como una alternativa de lectura para aquellos niños y jóvenes que no gustan de leer la Biblia”, dice Zambrano. Y antes de La segunda venida, el Cómic Club presentó en el 2003 Leyendas, de Mauricio Gil, que retrata las historias tradicionales de cada pueblo del Ecuador.

Estas historietas, además de otros trabajos temporales, como El equipo lectura, que apareció en la Expolibro del 2008, salieron de la mano del Cómic Club, que se creó hace cinco años. Esta es la primera organización oficial de cómic con la que cuenta la ciudad, que desde que comenzó a funcionar ha realizado una serie de actividades, que incluyen exhibiciones, conferencias, foros, concursos, proyecciones de filmes y otros, y tienen el aval del Municipio de Guayaquil. Las historietas cuentan con un espacio en la Biblioteca Municipal, llamado Comicteca.

Alfredo García, vicepresidente del Cómic Club, manifiesta que se está dinamizando la actividad del cómic en el país. Explica que siempre han existido dibujantes talentosos que han creado personajes que incluso han marcado épocas, pero lamentablemente no les dan continuidad a sus trabajos. “Hay revistas de José Daniel Santibáñez, reconocido dibujante, como Ecuador Ninja, Ficciónica (1992-1993), que en su momento tuvieron acogida, pero dejaron de dibujarse”, anota.

Similar situación ocurrió con otras revistas como Secreciones de Mojigato, impulsada en 1989 por Marcelo Ferder, Xavier Bonilla (Bonil), Juan Lorenzo Barragán (Azuca) y Hugo Idrovo (Elugo).

En la historieta, que nació como una sátira a una publicación colonialista de pequeño formato, se utilizaba el lenguaje popular “para expresar sin mojigaterías lo más representativo del pensamiento urbano”, explica Hugo Idrovo, uno de los autores. En su primer número la revista tuvo mil ejemplares. Luego dejó de circular.

La mayoría de caricaturistas coinciden en que se debe al poco apoyo que recibe el cómic en el país, pues manifiestan que está considerado como un arte menor. “Esa es parte de la lucha que emprende la comunidad de diseñadores”, indica Alfredo García. “Es posible que a través del cómic se difunda la cultura”, afirma.

José Daniel Santibáñez señala que una alternativa para desarrollar la industria del cómic en el país es que los periódicos y revistas den mayor apertura a las historietas locales en sus publicaciones, en lugar de las extranjeras. Después de Secreciones de Mojigato vinieron en 1991 las revistas Pekes; T.I.M.O., de Eduardo Villacís, Édgar Castellanos y Wilo. En 1998 llegó XOXRocko, de Érick Álava en 1999; y luego las publicaciones del Cómic Club.

Inicios
El 7 de noviembre de 1885 aparecen las primeras viñetas de carácter satírico en el diario El Perico, cuyo autor es el médico Francisco Martínez Aguirre. Las caricaturas tienen un contenido político en contra del gobierno de José María Plácido Caamaño. En la actualidad el Cómic Club ofrece clases del género.

The Phantom as Woman

2009-05-17T17:19:00.000-07:00

This is my entry for the If I had drawn the Phantom exhibition at the Municipal Library.

COMIC BOOK front and back cover

2009-05-17T17:16:00.000-07:00

FLASHBACK #1: The Ninja

2009-05-17T17:13:00.000-07:00

I did this when I was a student at Parsons School of Design circa 1982.

It was a passage of a novel called THE NINJA, by Eric Van Lustbader

Daniela Bohorquez´ review

2009-05-17T05:55:00.000-07:00

When I first heard about Comic Book from some of my teachers and fellow students, I felt a bit reluctant and jealous at first. I was curious, of course, for I knew nothing about JD Santibáñez works. The attractive cover gave me some insights of what to expect and it tempted me repeatedly. Before I knew it, many of my friends had this graphic novel, and every comment on it seemed to be more than positive.

The first time I had the novel on my hands I started going through the pages with awe and stopping here and there to read pieces of the short stories included in it, or to analyze the author's drawing style. But since the book wasn't mine, I had to return it immediately, not before making its owner promise to lend it to me as soon as he was finished.

"You'll laugh to tears!" were the words I heard as a great remark from one of those young students who had read it already. And they were completely right. Although I had a different impression on JD Santibáñez, who was at that time my Typography teacher, that first glace made me think I might be wrong about that.

I was confirmed on those thoughts a week later, when Comic Book came to my possession for a short period of time. What called my attention in the very first place where the graphic stories. I've always had a passion for comics, so I was greatly pleased to have found an author who felt way more identified with sequential art than most grown ups did.

These stories transmit, along the author's bold style, a great deal of energy and passion. Some of them are serious and dramatic, showing very well one of JD Santibáñez sides, while I thought the others were funny in a dark, although very enjoyable way. This noir kind of humor contrasts with the naturalistic and sharp style showed in the others, and they both are remarkable.

When I started reading the stories I was much happier to discover that they were outstanding. One could say a few ideas in them were already known, but of course, they all had something different and original about them. Most were a good surprise, others inspired me nostalgic, since they referred to historical situations, or had a subtle old-school style.

As a personal remark, I would like to add that I am quite fond of a character from Comic Book, Pedestrian, since whenever he appeared in a story, there was an evolution in the situations he faced, which made him grow and develop. Particularly, I laughed with the third chapter of this compilation, called after its peculiar super hero. He has a personality like I've never seen before in any other story, that was what called my attention in the first place. In this first appearance, Pedestrian crosses a street full of dangers, which will surely make us all identify with the fact that we fear every time we want to get to the other side here in Guayaquil's congested traffic; with such a speed and dignified determination.

My favorite story, has been anyway, so far, Los Niños y el Mago (The Children and The Wizard), one that touched me deeply and comforted me in many ways. This story refers to a cleaner who refuses to kill two young lovers because of his moral honor code of "no women, no children" he wants to obey.

With the first story we met as soon as we start this journey, La Venganza es Mía (Vengeance is Mine), we face a true mixture of horror and fantasy. I believe J.D. Santibañez has a fondness for magical creatures such as werewolves, because they cross our way several times in many forms throughout the stories. Also, I think is a good start to the beginning of this compilation, because it gives us a clear message on what are the author's preferences for a noir comic adventure.

Followed closely by a story named La Muerte se viste de Negro (Death wears Black), which is the first written crime fiction J.D. Santibáñez presents in Comic book, as it's more extended that some of the other stories he presents afterwards. It's fascinating to read a crime fiction taking place in the author's homeland, Guayaquil, because you can recognize many elements taken from this city, that make these stories very original.

In Dolores Eternos, (Eternal Pains), we come across a fantasy, and psychological short story, that concentrates in the so known "regressions," and past lives. This is a story about vengeance, like many others in Comic Book, although they never stop being surprising in the end.

Crazy Cowboy is a comic story illustrated in a sequential adventure told without words, except for one in the very end of it. Crazy Cowboy appears a few times in this book. Presumably, he's a brave, typical western cowboy trapped between worlds and different eras, and because of that, he finds himself facing different enemies in every story he's in.

The sixth story is called Visita Nocturna (Nocturne Visit), and it's clearly a science fiction that refers to visitors from other planets coming to take over the world. Or at least, that's what you will think as soon as you start reading. Again, the author plays with the element of surprise, and turns this science fiction into an international crime story with a doubtful open ending that will make you think.

Lluvia Negra (Black Rain), is a short detective crime fiction illustrated as a noir genre comic. Here, J.D. Santibañez's style is clearly shown; because of the environment's great darkness and the psychology used in the dialogs.

G3 is a futuristic science fiction story with romantic overtones. It's about love and confrontations between humans and androids. I believe this story shows the influence J.D. Santibañez received from science fiction authors such as Issac Asimov and Robert Bloch. It shows how the author can develop himself in many fields, let it be futuristic science fiction, or crime thrillers.

J.D. Santibáñez has a very creative and original style to produce his adventures. This is the case of Yo, Asesino (I, Murderer), because the story itself takes us along and throughout the main character's mind, in a swift, non-stop chain of thoughts, that results in an exciting experience for the reader.

Aventura Urbana (Urban Adventure), takes place on Guayaquil's streets, demonstrating us a typical, every-day urban situation, with a comical turn-up. Aventura Urbana is about a lady who's being harassed by many men as she passes by, to a point where it bothers her as much as to change into someone she didn't seem to be before, and that's something you'll like about J.D.'s female characters: They're beautiful, but always strong.

In La Palabra, (The Word), things get much more serious, because it talks about a topic not so common among fiction writers, the VIH virus. I believe this grave story reflects much more than social concern and discrimination. Spiritual believes and their interpretation may be considered main themes as well.

Pandora takes us back to the old Greek myth, this time, set in the modern days. Two girls receive Pandora's Box and are told not to open it. But curiosity can always be stronger than one's will to do the right thing, and this is a lesson J.D. Santibáñez tries to teach to all young readers, and how wrongness can always be concealed within one's hearth.

For those who thought Yo, Asesino's murderer died; will be tricked with this sequel named almost as its first part: Yo Asesino (I Murder). Again, the writer narrates this story as if we were inside the criminal's mind, and takes us among all his actions in such an accurate way that will make us wonder whether it's a true testimony taken from a professional murderer.

Now, we have reached to the heart itself of this adventures compilation. Comic Book is the center of J.D. Santibañez graphic novel and main theme. This comic is without any doubt one of the most worked and detailed illustrated journeys we will come across during our visit inside the writer's world. Without giving any more spoilers, I might agree with most readers I've met in saying this comic adventure is great. You'll be surprised more than once with fantastic characters, and exchanging dimensions, so common in the author's works, and again, its ending will be to you totally unexpected.

Alguien Tiene que Quedar (Someone has to remain) allows us to discover a suspenful and tragic tone, through it pages, where we'll be shown a devastated future, where humans are about to be vanished from arth. The moral lesson, as most as the writer's stories show, has a very strong environmental message, as well as a spiritual approach to preserve Earth.

El Quinto Hombre (The Fifth Man), would be J.D. Santibáñez´s tribute to J.F. Kennedy's death mystery. Many of his resources are pictures taken in that tragic day, as well as the suspicious Fifth Man who presumably committed the crime. The writer goes once more inside the murderer's mind, allowing us to see a perfect deliberation for committing this horrible assassination.

Rompehuesos (Bonebreaker) has a dark futuristic atmosphere, and as a dreadful manner, such as its own title. It's a place where the machine and any technological devices are considered sacred. Again, the cult to technological equipments is criticized. If we allow it to happen to our future, terrible things might happen to those who try to escape from it. But there is always hope in J.D. Santibáñez´s stories. One of his most mysterious and remarkable characters appears to fight against those who are creating chaos, and to defend human's innocence.

Círculo (Circle) expresses insanity taken to a pathological level where the sickness is transmitted in contaminated areas. Twelve doctors within a secret genetic investigation lab are found death, presumably assassinated. Soon, a group of detective agents discover a tape that proves how they killed each other involuntarily. As they try to find a reason for such behavior, insanity attacks yet again, creating a new setting for chaos and death.

Caperu-sama displays the writer's satirical tone, where the illustrations are produced photographically and manually as well. Its mixture gives a very original result, which combines very well with the comical environment. Caperu-sama ironically refers to Little Red Riding Hood, but being one of J.D. Santibáñez´s character, this girl's a cool fighter.

Sofía y el Mago (Sofía and The Wizard) is narrated by two contrasting characters, one that reasons in a very dark, cold way; and its opposite, who dwells in the depths of insanity. This is the story of an innocent girl, who's being followed by a mad person. Coincidentally, The Wizard, maybe J.D. Santibáñez´s most elaborated character, appears to accomplish one of his works. The outcome is as always surprising and converges into a reflective end.

Nohemín y Jazaelía is an illustrated short story, where two girls confront into an explosive imaginary conflict. Graphic design is seen from a much refreshing, "super-powerly" point of view, and foil behavior is shown in an impressively comical way, specially when you'll see the author refer to himself in a sort of cameo appearance.

Bienvenidos Sean (Welcome Thee), has a surprising central message within a disorder of futuristic visitors and Psílox enemies in Herodes times. You might believe its tribute to the most important birthday in all times is clearly shown, as well as a fantastic version for one circumstance mentioned in the New Testament.

McGuffin is one outstanding end to these fantastic stories. Once more, and for the last time in Comic Book, JD Santibáñez presents a series of culminant events that lead to an unexpected climax. Being at the same time, the novel's ending, it offers a significant innovation to usual science fiction due to the fact that its resolution is full of action; when usually the falling events are always considered as a cleaning up of the story and do not contain important conflicts. The story itself is a collection of Comic Book's characterization, settings and themes. The "McGuffin" is used this time as an effective motivation device and resource; and it certainly successes at capturing the readers' attention, and closing this extraordinary fiction novel very accurately.

What has been a breathtaking experience finishes by joining ends we never predicted, which is visually one of JD Santibáñez resource style. Not many talented novel writers or comic illustrators can obtain what Comic Book's author accomplished by joining two of his life's passions: Comics and Fiction. We can only hope that he continues producing his wonderful stories for our pleasure and inspiration, and thank him for this great contribution to science fiction and comics world.

Daniela Bohorquez
http://polidiseno.wordpress.com

11. Comic Book Life: Part 10

2009-05-17T05:53:00.001-07:00

10. Comic Book Life: Part 9

2009-05-17T05:50:00.000-07:00

09. Comic Book Life Part 8

2009-05-17T05:48:00.000-07:00

08. Comic Book Life Part 7

2009-05-17T05:47:00.000-07:00

07. Comic Book Life Part 6

2009-05-17T05:46:00.001-07:00

06. Comic Book Life Part 5

2009-05-17T05:45:00.000-07:00

05. Comic Book Life Part 4

2009-05-17T05:44:00.001-07:00

04.Comic Book Life Part 3

2009-05-17T05:43:00.000-07:00

03. Comic Book Life Part 2

2009-05-17T05:41:00.000-07:00

02. Comic Book Life Part 1

2009-05-17T05:36:00.000-07:00

On May 2007, I made a presentation of my work/career at Universidad San Francisco de Quito. It was a nice experience. Thanks to my friend Eduardo Villacís, Head of the Fine Arts Department for the invitation.

2009-05-17T05:31:00.000-07:00

El 'Comic Book' de JD
por Cecilia Ansaldo Briones
www.eluniverso.com

Hay palabras desafortunadas, que se quedan ancladas en los hablantes en sus primigenios y reducidos significados. Eso le ocurre al término "cuento", por ejemplo, ligado todavía en muchas mentes a narración para niños. Igual pasa con "cómic" que encima arrastra su antipática connotación extranjera. Pero a mí me gusta ser fiel a los orígenes: yo seguiré llamando "cómic" a las narraciones en historietas que alimentaron mi primera avidez de fantasía.

Lugar para pensarlo hay en esta publicación novedosa y desafiante que nos entregara, hace muy poco, José Daniel Santibáñez, en su tercera hazaña literaria en formato de libro (porque él viene de un largo trayecto de publicista, dibujante y escritor de cómics). Desde su primera Ejecútese el mañana (2000) –novela que me cupo en suerte presentar y analizar– hasta este ejemplar de animada combinación (27 historias distribuidas entre historias graficadas y cuentos convencionales) JD expande los hilos múltiples de su sombría imaginación.

Entiéndaseme bien: para escribir cómics, contar con una visión negativa de la vida constituye la bodega de los materiales fundamentales para un trabajo creativo que hace puente entre las dualidades del bien y del mal un poco simplistas de la niñez y los complejos entretejidos del abismo espiritual de otras edades. En Comic book hay lujo de muestras al respecto: contiene criminales puros que gozan destruyendo, pero también sicarios que hacen su "trabajo" sujetos a códigos éticos que ellos mismos se han impuesto. En muchos de sus textos el final no es predecible porque el protagonista no es un paladín del bien o una concentración diabólica irremediable.

Entre la penumbra que parece reinar en las historias de JD –ratificada por los dibujos en blanco y negro que brotan de su misma mano– surge de cuando en cuando un hilo que parece conducir al lector hacia una frontera sobrenatural: presencias luminosas, encapuchados o sacerdotes conscientes de que "la venganza" o justicia tiene que contar con iniciativa humana.

Leyendo este libro he recordado el pronunciamiento del sabio español Pedro Laín Entralgo, quien le reconocía a la novela de detectives un carácter intelectual. Este pensador aceptaba que esa clase de narraciones, partiendo de la acción brusca que tomaba al lector por sobresalto, también creaba una concentración de signos que exigían participar en una inteligente decodificación de pistas para actuar en la resolución de los problemas. En Comic book –y en mucho de la expansión de literatura gráfica de nuestros días– se nos demanda un ingreso emocional a las historias y viñetas que se va transformando en ejercicio de la inteligencia en la medida en que descubrimos que la truculencia sangrienta es representativa de dimensiones más serias.

Muchos adultos acostumbrados a la literatura convencional se preguntarán cómo distinguir entre el cómic de quiosco y este otro que, habiendo abrevado de esas mismas fuentes, ha podido derivar en el ambicioso proyecto de crear desde los tonos grises de la vida a base de las habituales figuras infantiles (monstruos, robots, alienígenas, cowboys, asesinos a sueldo). Vale recordar que el acto de la lectura es un auténtico llamado al desciframiento. Y que emprenderlo no mengua para nada el placer de fantasear. Acto intelectual al fin y al cabo, digo, parafraseando al maestro Laín.