{"id":173089,"date":"2025-09-29T01:02:10","date_gmt":"2025-09-29T01:02:10","guid":{"rendered":"https:\/\/teknomers.com\/en\/the-spaniards-who-work-for-marvel-and-dc-share-how-they-did-it\/"},"modified":"2025-09-29T01:02:11","modified_gmt":"2025-09-29T01:02:11","slug":"the-spaniards-who-work-for-marvel-and-dc-share-how-they-did-it","status":"publish","type":"post","link":"https:\/\/teknomers.com\/en\/the-spaniards-who-work-for-marvel-and-dc-share-how-they-did-it\/","title":{"rendered":"The Spaniards who work for Marvel and DC share how they did it."},"content":{"rendered":"\n
\n

Spanish Artists Thriving in the U.S. Comic Scene<\/h2>\n

Without a doubt, the most prevalent specimens at the Comic-Con in M\u00e1laga are Spanish artists who have successfully built careers in the United States<\/strong>. For many creators born in Spain, it\u2019s a dream to see their visions of Batman, Spider-Man, and other mainstream comic book characters come to life under their brushes. However, the paths to success can vary significantly, and not all journeys are straightforward.<\/p>\n

We gathered insights from several of these talented artists, each with their unique quirks and varied backgrounds, and discovered how they managed to work for sought-after major and independent publishers in the U.S. What common thread connects these Spanish artists? Let\u2019s find out.<\/p>\n

David L\u00f3pez presents a unique case, as nearly his entire career has unfolded in the U.S. He began publishing in Spain in 1998, embracing an entirely indie approach. However, by 2000, he was working with Marvel through an agent. \u201cI entered kind of by luck. My friends had a more American style. While I read American comics, my personal characteristics matched what Marvel editors were looking for<\/strong> at that time,\u201d he states. Since then, he has participated in titles like ‘Catwoman,’ ‘Batgirl,’ ‘X-Men,’ ‘Captain Marvel,’ and ‘Spider-Woman.’<\/p>\n

\n
\n
\n
<\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n

\u201cOnce you step in, the doors are generally open. Americans think, \u2018if he has worked with us, he must be good,\u2019\u201d he explains. \u00c1lvaro Mart\u00ednez Bueno, known for ‘The Nice House on the Lake’, an Eisner Award winner, shares a similar viewpoint. He acknowledges entering through an agent as well. \u201cThese days, with social media, you can directly engage with editors,\u201d he says. Working in the superhero sphere was a vital aspiration for him, though he finds the reality \u201cvery unromantic.\u201d Yet, he admits, \u201cThe first published pages are exhilarating\u2014filled with stress and nerves, but truly beautiful at the same time.\u201d<\/p>\n

Emma R\u00edos’ journey to the U.S. comic market was more labyrinthine. \u201cIt started as usual in these cases\u2014by chance. But with a lot of work behind it, of course. It began when the writer Warren Ellis featured my work on his popular blog, and I received a million visits on my Flickr. The following week, I had an offer from the indie publisher Boom!, with whom I created ‘Hexed.’\u201d They all concur that while luck and being in the right place at the right time are significant, having compelling work to showcase is crucial to winning over Americans.<\/strong><\/p>\n

David Rub\u00edn stands out for seamlessly balancing work between the U.S. industry (DC, Dark Horse) and Spain, with works such as ‘El fuego’ and ‘El h\u00e9roe.’ His breakthrough also involved a series of fortunate coincidences. \u201cIt had two phases, one very intentional on my part. I always thought my work in the U.S. would have limited potential, but I was contacted by Paul Pope for publication. Once you start there, it\u2019s like dominoes falling; people start to notice you and reach out. Simultaneously, Astiberri licensed ‘El h\u00e9roe’ to Dark Horse. It all came together with ‘Beowulf,’ which I created with Santiago Garc\u00eda and did well even before the Eisner Awards.\u201d<\/p>\n

Finally, Gabriel H. Walta gained recognition in the U.S. thanks to his ‘Vision’ miniseries (two-time Eisner award winner), leading him to draw for ‘Astonishing X-Men’ and ‘Hellboy,’ always retaining his personal style. \u201cAfter winning the Injuve award, I sought out Torres, who not only writes but also collaborates with publishers there. He sent a sample of mine to IDW, and from there it just kept rolling<\/strong>,\u201d Walta reveals. Aside from ‘The Forest of Suicides’, which released in both Spain and the U.S. simultaneously, everything else has been for the U.S. market.\u201d<\/p>\n

\n
\n
\n \"'Lobezna',
\n \"'Lobezna',
\n ‘Lobezna’, by David L\u00f3pez<\/span>\n <\/div>\n<\/p><\/div>\n<\/div>\n

Understanding the Differences<\/h2>\n

Entering the U.S. comic scene doesn’t require any magic formula; however, what distinguishes working for Spain from the U.S.? Are there higher demands? Is it true that Marvel and DC are as nitpicky as rumored? Walta dispels this myth: \u201cThe larger editorial houses have their big organizational structures. Still, your interactions generally boil down to three or four individuals. If you have a smooth relationship with the editor, there\u2019s no substantial difference from an indie publisher, though in the case of Marvel, for example, Disney influences your work. For instance, when I was assigned the Vision series, it followed a movie. In that regard, it does have an impact. But on a daily basis, there aren’t significant alterations.\u201d<\/p>\n

Rub\u00edn shares this sentiment, noting that many myths exist, at least from his perspective: \u201cEditors today have changed; they\u2019re not like the old days. They were kind of like characters from a Jos\u00e9 Luis L\u00f3pez V\u00e1zquez film\u2014you can now speak with them. For example, I\u2019ve had to pause several times for health issues while working on series like ‘Rumble,’ and there\u2019s never been a problem stopping and resuming when I was better<\/strong>. Javi Rodriguez illustrated a similar experience with his work on ‘Martian Manhunter,’ where instead of forcing filler issues, DC was accommodating and allowed a four-month hiatus so they could work without pressure.\u201d <\/p>\n

\n
\n
\n \"Image
\n \"Image
\n ‘Bella Muerte’, by Emma R\u00edos<\/span>\n <\/div>\n<\/p><\/div>\n<\/div>\n

However, the experience can vary based on the artist’s personality. For instance, Emma R\u00edos has worked for Marvel but shows a preference for different projects even within the American market: “I enjoy working with superheroes, but I prefer projects where I have more control. There\u2019s always pressure and limitations\u2026 Collaborations are valuable, and while my relationships with writers, like Mark Waid or Kelly Sue DeConnick, whom I work with often, are excellent, I tend to be very hands-on. I like to handle everything myself, but that can take a toll, so I enjoy alternating between solo projects and those with shared responsibilities.\u201d<\/p>\n

What remains indisputable is the need to put in the effort: David L\u00f3pez asserts that \u201cin the U.S., they value the ability to deliver 24 pages in four weeks<\/strong>. As they work at a frenetic pace, if you can adapt, a remarkably interesting work environment opens up for you.\u201d \u00c1lvaro Mart\u00ednez Bueno chimes in, stating, \u201cDrawing is just drawing. Creating for the U.S. comes with its particularities like insane timelines and working with characters and stories that hold tremendous significance personally. While it adds emotional weight, you still sit down and draw.\u201d<\/p>\n

\n
\n \"'The
\n \"'The\n <\/div>\n<\/div>\n

Mart\u00ednez Bueno, however, also highlights that despite his work for DC, \u201cDC is an entity I hardly know. I know they have offices in Burbank that I\u2019ve never visited, and I\u2019ve shaken hands with a few executives, but I mainly create comics with just three or four individuals. That\u2019s the ecosystem I enjoy working in.\u201d He adds, \u201cYou realize you\u2019re a piece of a larger machine. Though much of my work has been for adult lines, superhero projects are often more confined. I set limits for myself and recognize that if I want greater freedom, I can\u2019t find it here. But creatively, I don\u2019t need more freedom.\u201d<\/p>\n

From this point onward, each artist cultivates their unique rhythms, customs, and preferences<\/strong>. David L\u00f3pez shares that \u201cwithin the superhero genre, I\u2019ve always managed to cultivate a more intimate facet,\u201d recalling a time when communication via the internet wasn\u2019t as prevalent: \u201cIn one of my early assignments for DC, I received physical scripts, rough sketched them, sent them back physically, then they returned them lettered, and I would ink them after that. It took much longer. But I soon transitioned to a more digital format.\u201d<\/p>\n

\n
\n
\n \"'Cosmic
\n \"'Cosmic
\n ‘Cosmic Detective’, by David Rub\u00edn<\/span>\n <\/div>\n<\/p><\/div>\n<\/div>\n

Walta has similarly adapted to mainstream American restrictions: \u201cI\u2019ve always approached projects with a personal touch, even when they\u2019re superheroes. Given my distinctive style, I trust that I\u2019m called upon when they want to see my interpretation.\u201d Emma R\u00edos recalls, \u201cBeing at Marvel felt like I was back in university, constantly trying to grasp how the American market operates.\u201d<\/p>\n

Spain’s Unique Comic Landscape<\/h2>\n

The comparisons might be uncomfortable, but they are unavoidable. We asked our guests how they view the comic industry in Spain and its international projections. Their responses revealed a disconnected industry. \u00c1lvaro Mart\u00ednez Bueno notes, \u201cThe Spanish market is quite limited. Those who thrive in Spain typically do so by also working in the U.S.\u201d He adds, reflecting on the event, \u201cIt\u2019s contradicting to see Comic-Con overflowing with people, many buying comics, though likely most wouldn’t buy from a Spanish author.\u201d<\/p>\n

\n
\n
\n \"'Extra\u00f1o',
\n \"'Extra\u00f1o',
\n ‘Extra\u00f1o’, by Emma R\u00edos<\/span>\n <\/div>\n<\/p><\/div>\n<\/div>\n

David L\u00f3pez confides, \u201cI\u2019ve even told Spanish publishers: I trust you so much that I\u2019ll charge half of what I earn in the U.S. for you to publish my comic. They say, \u2018That\u2019s a lot of money.\u2019 What\u2019s the issue? Is the effort solely mine for your profit?\u201d Walta acknowledges, \u201cThere\u2019s tremendous talent in Spain, but the industry simply doesn’t support so many authors. There are various remarkable artists, from commercial to experimental work. If viable work opportunities existed in Spain, many talents wouldn’t have sought markets elsewhere.\u201d<\/p>\n

David Rub\u00edn, known for blending his work inside and outside Spain, does so almost out of commitment, even at the cost of his finances. \u201cSometimes, it\u2019s necessary to opt for publishing in Spain and forfeit some visibility and, of course, money<\/strong>, but if not, we\u2019ll never have an industry. If all of us who are doing well leave, how can a sustainable comic market emerge? The issue lies in authors often conceding on several grounds while publishers don\u2019t compromise much on issues\u2014like the royalties we receive.\u201d<\/p>\n

\n
\n
\n \"Joker
\n \"Joker
\n ‘Joker: El Mundo’, by David Rub\u00edn<\/span>\n <\/div>\n<\/p><\/div>\n<\/div>\n

He summarizes the situation starkly: \u201cI don\u2019t know of any editor who rents\u2014whether small publishing houses serving a niche or large best seller<\/em> ones, they all own their houses. In contrast, artists in their 50s grappling with mortgages are few. Comparing salaries, if I work two years in the U.S., I can afford a sabbatical year working in Spain, but only because my finances are secure.\u201d<\/p>\n

Emma R\u00edos broadens the discussion: the challenge both here and there, no matter how buoyant the mainstream economy appears, is there\u2019s no room for newcomers: \u201cCurrently, there\u2019s a significant surge in sales, with phenomena like the new Batman. Yet, I feel there\u2019s not a foundation for new talent. I entered Marvel alongside Mark Waid with Doctor Strange, but that route is rare. There\u2019s always a circuit for fanzines and indie works, but they tend to stay outside the mainstream.\u201d<\/p>\n

\n
\n
\n \"'Catwoman',
\n \"'Catwoman',
\n ‘Catwoman’, by David L\u00f3pez<\/span>\n <\/div>\n<\/p><\/div>\n<\/div>\n

As we close the conversation, we seek a more hopeful note and ponder whether they have felt perceived differently due to being European.<\/strong> Walta responds firmly: \u201cThe Spanish school is that there is no singular Spanish school. David Aja has nothing in common with Bel\u00e9n Ortega or Emma R\u00edos. I think they view us as Europeans, with experience reading American comics while also having read Superl\u00f3pez and Moebius.\u201d<\/p>\n

In a similar vein, \u00c1lvaro observes, \u201cSpanish authors have absorbed international comic influences without insecurities, but the mainstream American model aims for a more homogeneous approach, avoiding straying far from the norm. Spaniards spontaneously embrace diverse influences, evidenced by the fact that even in superhero genres, no two are alike.\u201d David L\u00f3pez summarizes succinctly, \u201cSpain has always published a vast amount. Spanish fans arguably own more comics than anyone\u2014many editions encompassing Latin American, Japanese, and European comics. Thus, compared to Americans, we have a more versatile preparation.\u201d<\/p>\n

Spain undoubtedly has reasons to consider itself a creative powerhouse, and these artists are only a few examples. Unfortunately, due to its thinly spread industry, emigration remains a persistent survival option for many artists.<\/p>\n<\/div>\n


\n
General News – 2<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Spanish Artists Thriving in the U.S. Comic Scene Without a doubt, the most prevalent specimens at the Comic-Con in M\u00e1laga are Spanish artists who have successfully built careers in the United States. For many creators born in Spain, it\u2019s a dream to see their visions of Batman, Spider-Man, and other mainstream comic book characters come […]<\/p>\n","protected":false},"author":1,"featured_media":173090,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36399],"tags":[26087,1178,38448,319],"class_list":["post-173089","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-technology","tag-marvel","tag-share","tag-spaniards","tag-work"],"_links":{"self":[{"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/posts\/173089","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/comments?post=173089"}],"version-history":[{"count":0,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/posts\/173089\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/media\/173090"}],"wp:attachment":[{"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/media?parent=173089"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/categories?post=173089"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/tags?post=173089"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}