Almost two decades ago, El circo del desaliento gathered the works of David Rubín, a key voice in the active Galician fanzine scene. A supporter of the Polaqia collective, the Orense-born artist cultivated a deeply personal style that drew on the storytelling methods and visual language of creators as diverse as Paul Pope and Jack Kirby, while also forging a path that reflected his own passions and sensibilities. That instinctive honesty has remained a hallmark, shaping a career that grew rapidly into a commanding and detailed narrative voice. This momentum found a later home in American publishing, where Rubín collaborated with renowned writers like Jeff Lemire and Matt Kindt. That success did not diminish his desire to pursue more intimate projects, including El héroe, a work that reinterprets classic hero myths through his unique influences and readings, creating a sincere homage to contemporary pop culture.
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A flourishing career produced a varied body of work, marked by an almost tireless energy that kept Rubín pushing the boundaries of his craft. In quick succession, two titles emerged that crystallize the two faces of his artistry: Cosmic Detective (Astiberri, translated by Santiago García), a bold project aimed at the American market that teams him with two of his favorite screenwriters, Jeff Lemire and Matt Kindt; and a darker, more speculative sci‑fi epic that nods to the literary lineage of Philip K. Dick and the cinematic horizons of Blade Runner. Rubín takes a familiar framework and turns it into a voyage through the influences of Jack Kirby and Jim Steranko, enhanced by dynamic graphic effects that showcase the power of the story and a visual energy that captivates even readers well-versed in the genre.
In a deliberate contrast to this commercially oriented direction, the author returns to personal, intimate themes with El fuego, again from Astiberri, blending sci‑fi ideas with a courtroom drama. It shares thematic ground with Tarkovsky’s Sacrifice and Lars von Trier’s Melancholy, drawing lines between an imminent global crisis and the erosion of the soul. The connections to Rubín’s early work are evident: a somber meditation on guilt that seems inevitable and must be addressed through personal sacrifice. The notion of an end of the world becomes a limit on decisions, stripping away excuses and leaving a stark choice. There is no burning nail to clutch at when society breaks down; only a pardon that cannot be granted. The protagonist of El fuego roams through a cityscape the creator helped construct, seeking catharsis in art that offers the sole redemption. Rubín crafts a narrative that leans on accessible sources to probe this reflection, maintaining a steady gaze that neither wallows in self-pity nor seeks easy understanding from the reader. It simply asks for a quiet, thoughtful moment. As always, Rubín’s distinctive chromatic palette, the strength of the protagonist, and the precision of lines and plotting receive special praise.
Two works, in their own way, capture the arc of one of the leading figures in contemporary comics.