Black was born when I was thirteen years old. Back then, I dreamed of creating a superhero inspired by Tim Burton’s Batman and Carl Macek’s Robotech (a strange mix, I know —but I was just a kid). Over the years, that concept evolved, and through it, I discovered my passion for storytelling.
By 1997, the idea had transformed into what Black is today —a project that still continues. Initially, I just wanted to draw a cool, modern superhero and dreamt of getting published in the U.S. But over time, the focus shifted. Now, Black is about Chilean teenagers, their daily lives, and the mistakes we all make growing up. These characters live, love, fear, cry, and grow. To me, the characters of Black are like my children, and when I write, I truly believe the readers can feel that connection. I think that’s a big part of why the series has resonated with people.
I’ve always admired many artists. Among the Chileans: Themo Lobos (Ogú and Mampato), Mario Igor (Sigfrido, Mizomba the Untouchable), and Genzoman (illustrator). I also have great respect for Lucho Olivera (Gilgamesh the Immortal), Rubén Meriggi (Wolf, Crazy Jack), Ariel Olivetti (Cazador), Mandrafina (Savaresse), Toppi (Thalerg), Nik (Gaturro), and of course, Quino (Mafalda).
As for the future of comic book distribution, I’m cautious —not because I’m an expert, but because I can only speak from my experience here in Chile. We still rely heavily on print. While digital comics are growing, printed editions remain popular. In fact, many readers here download scans online but then go out and buy the print version. One local publisher, which distributes Marvel and DC, has proven that Chileans still love physical comic books.
Of course, print has its challenges. Publishing is expensive, and there aren’t many comic publishers in Chile. Most creators —myself included— have to self-finance our work and publish independently. The upside is that this creates a more personal and direct connection with readers. Handing someone a physical copy and getting immediate feedback is incredibly rewarding, and it builds a solid, grassroots distribution network.
Digital comics have advantages, though. They’re easier and cheaper to publish —just a scanner or digital tablet, a graphics program, and an internet connection. But Chile still struggles with slow internet, and platforms like HTML5 (such as Wix) can be tough to manage. We often rely on simpler options like Blogger or WordPress and promote through social media —Facebook, Twitter, and Instagram. The biggest benefit of digital publishing is global reach: your work can travel faster and reach more readers.
That said, I plan to publish Black in the United States. The English version of the comic is on the way—our first big step in expanding to international audiences.
Over these three years of publication, there have been many memorable moments. The fans of Black have become an essential part of the series. They comment, suggest ideas, and even debate the romantic entanglements of the characters —especially the love triangle between Eric, Claudia, and Inés. Some readers are firmly Team Claudia, while others argue Eric should find someone new. It’s hilarious and heartwarming. I’ve even received help from readers with technical details —one fan provided scientific information that’s now part of the comic’s plot.
At Chilean comic conventions, I’ve seen this same engagement in person. Readers give feedback, share ideas, and connect deeply with the characters. For me, that’s what keeps a comic alive: the readers.
And yes, many of the characters are based on real people. Eric is me in high school. Alberto, aka the Boogie Man, is based on my high school friend Alfredo Santana. Víctor is inspired by an old "bad boy" who used to call me, “Teddyyyyyy…” Claudia is a mix of girls I liked in the past, while Inés represents a part of myself —my Christian side— and a bit of Winona Ryder from Lucas.
Black is created by just two people: my fiancée Loredanne and me. I write, draw, ink, and apply screentones, while she serves as the editor-in-chief.
Truly, Black is the work of my life.
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