A road full of difficulties
Inside Countdown (ECC, 2022) revisits the Prestige disaster through fictional moments before, during, and after. Portela and Exhibition of St. Julian reflect on how local politicians, fishermen, the media, and volunteers faced the unfolding crisis. The work presents a portrait where many are scarred, and the line between truth and spin becomes blurred. The project grew from a time when misinformation ran rampant. People sometimes trusted official media, and the idea of fake news was not yet understood. Over time, quarantine and fear shaped how information was received, building a landscape where distrust could easily spread.
Portela has built a long career across comics and audiovisual formats. Her screenplays have reached audiences through series such as Wolf Killer, Wired Girls, Velvet, and Advocates of the use of fiction based on true events. She explains that certain details cannot be disclosed by Spanish law, which adds a constraint to storytelling. The man from Vigo, twenty years later, remains surprised by how political figures handled the Prestige aftermath. Even after two decades, there is no sign of accountability or acknowledgment of missteps, and the posture of the political class feels strikingly arrogant when responsibility is not recognized.
The drive to remember fuels the Exhibition of St. Julian and remains a core reason for continuing Countdown. The chance to engage with Galician audiences left a strong impression on the artist. During an autograph session there, anger and bitterness about what happened surfaced with unusual intensity. The Catalan writer observed a new generation of young readers who did not witness the disaster firsthand and now seek guidance from their parents. For both artists, preserving memory becomes essential, ensuring that what happened endures in collective consciousness.
Path to progress and the weight of memory
The journey of this comic was never easy. The first installment appeared in 2008, years before other works with similar themes reached readers. Works such as 3 Days on the tragedy of the Valencia metro by Cristina Durán and Miguel Ángel Giner Bou, and Crack by Guillermo Abril and Carlos Spottorno, offered perspectives on European borders and people seeking refuge. Ana Penyas explored the impact of tourism and speculation on coastal spaces. Portela notes moments when the project seemed in danger of never finishing. Sergi San Julián adds that the delay was partly tied to his personal situation. Stability found in a single project helped him push forward, and the 20 year mark acted as a catalyst for moving ahead.
In Spain, artists pursue varied paths. Some earn a living from editing, others from distribution, or from selling works, yet many struggle to make a sustainable income. The cartoonist notes how rare it is to turn drawing comics or writing screenplays into a full-time profession. The industry remains uneven, with pockets of opportunity and many gaps to fill.
Illustrator Exhibition San Julian is highlighted. The Galicia-inspired color work by Miguelanxo Prado carries a careful approach aligned with the artist’s intuition. Prado describes his palette as a reflection of Galician light and texture. He emphasizes that color should enhance mood and help identify characters and spaces without relying on flashy tricks. If more than 40 figures are involved, the team avoids shortcuts that would confuse readers. Color becomes a tool to guide readers through time and place, shaping atmosphere while keeping clarity intact.
Portela explains that the character structure moves through a spectrum of grays, from light to dark. He believes black and white can feel unreal for contemporary storytelling, so he favors a nuanced gray scale that suits the project’s tone. The artistic choice supports the narrative by maintaining clear visual cues without sacrificing mood.
The project stays honest about its imperfections. Portela notes that bad deeds do not define a person, yet the story contains many shades of intention and consequence. The events along Galicia’s shore twenty years ago remain painful memories for those involved. The lasting positive takeaway is the solidarity and unity that emerged among people at all levels during the crisis. When recalling childhood trips to the Vigo coast, the artist remembers days spent playing on the shore, unaware of the oil slicks and environmental damage that lay beneath. The memory lingers, and the resolve remains clear: action must be taken to prevent a recurrence. The sea will not fix every problem on its own, but with effort, it can heal some wounds and reduce future harm. The era of reckless exploitation is over when communities choose responsibility over silence.