The Chapulín Colorado

The Chapulín Colorado is said to be the son of entomologist Pantaleón Colorado y Roto and Lois Lane —possibly the same journalist from The Daily Planet. There is also a theory that his powers originated from a benevolent scientist who, before dying, chose to transfer special abilities to someone with a pure and noble heart.

He possesses a quirky set of powers that make him both comical and surprisingly formidable. He achieves hyperspeed by adjusting his antennae. He's capable of teleportation, understands multiple languages —including extraterrestrial ones— and can leap great distances like a real grasshopper. His superhuman reflexes allow him to dodge danger with ease, and he can disguise himself using nothing more than a fake mustache, though it only fools some people. Despite his slim build, he has remarkable endurance and even the ability to travel through time and space.

The most iconic weapon of this hero is the Chipote Chillón, a red and yellow hammer that lets out a distinctive squeak with every strike. With just a whistle, the Chapulín can summon it, and it flies to him on its own.

The Pastilla de Chiquitolina shrinks him to a tiny size, allowing him to sneak past villains unnoticed —although he’s often discovered, and they usually try to crush him with a shoe or a flower vase.

The Chicharra Paralizadora is a handheld horn he uses to paralyze his enemies, while his Antenitas de Vinil (vinyl antennae) allow him to sense nearby danger and detect the presence of enemies.

As for his enemies, the Chapulín Colorado has several, including Chory Malgesto Malacara, Matalote, El Pocas Trancas, Rufino Rufián, El Cuajináis, Dr. Panchostein, Tripaseca, Alma Negra, Súper Sam, the Great Chief Carne Seca, Rascabuches, El Bulldog, La Minina, Rosa la Rumorosa, Plaza Loca, The Great Chief Bola Barrigola, La Bruja Baratuja, among others.

Kaliman

Kalimán first appeared on Mexican radio on September 16, 1963, through the RCN network. The character was created by Modesto Vásquez González —a Cuban lawyer and broadcaster who relocated to Mexico after the Cuban Revolution— and the Mexican writer Rafael Cutberto Navarro. The scripts were written by Víctor Fox (a pseudonym for Héctor González Dueñas) and Clemente Uribe. The radio show quickly became a massive success, leading to its adaptation into a comic book in 1965, published by Promotora K.

The comic ran for 26 uninterrupted years, producing over 1,300 original issues. Each edition sold between 1.5 and 3 million copies, making Kalimán one of the most widely read comic series in Latin America, with distribution expanding to Central America and beyond.

Interestingly, Kalimán was not initially the protagonist. That role belonged to Solín, a dethroned Egyptian prince and a child descended from pharaohs. Kalimán was originally conceived as his protector and guide. But over time, Kalimán’s popularity outshined that of Solín, and he became the central figure in the series.

Kalimán is portrayed as a man of striking beauty, unwavering calm, and moral integrity. His philosophy is summarized in a single phrase: “He who masters the mind, masters everything.” Unlike most Western superheroes, Kalimán does not rely on superpowers, weapons, or secret identities. His abilities come from years of physical discipline and mental training with Tibetan monks. He can levitate, use telepathy, hypnotize individuals or crowds, and control his vital functions to the point of faking death. He is a master of martial arts, speaks every language, and possesses encyclopedic knowledge combined with profound spiritual wisdom.

The character’s origin is loosely tied to Hindu mythology: Kalimán is said to be the seventh descendant of the goddess Kali, whose name he carries along with the suffix “-man,” a nod to the popularity of Superman. He has dedicated his life to justice and uses his powers to confront evildoers across the globe, from pirates and vampires to rogue scientists and criminal syndicates.

The transition from radio to comics exemplifies a successful case of transmedia storytelling —maintaining the same narrative essence while adapting to different formats. Radio relied on the power of voice and sound, while the comic book medium enriched the story through dynamic visuals and text, creating a new layer of immersion for the audience.

Kalimán’s lasting appeal lies in his uniqueness. In a world filled with superheroes who rely on violence or technology, Kalimán embodies an alternative ideal: strength through wisdom, serenity, and mental mastery. His iconic catchphrase —“Serenity and patience… great patience”— reflects a timeless message that continues to resonate with generations of fans. Kalimán remains a cultural icon, a hero shaped not by fantasy but by the inner strength that lies within us all.

Hellboy

Guillermo del Toro considers Hellboy one of the five best-directed films of his career. Released in 2004, the movie was the result of years of development and perseverance. At the time, studios were reluctant to invest in an unproven comic book property like Hellboy, especially before the major box office successes of X-Men and Spider-Man. Del Toro first directed Blade II, which helped him gain enough credibility to finally secure the green light for Hellboy through Sony’s Columbia Pictures.

He recalls that the project had been stalled for a long time. In fact, Hellboy was already in development even before X-Men began filming. Del Toro has cited Blade and Dark City as pivotal in showing that darker, more stylized superhero films could succeed. These films helped create a climate where The Matrix and later projects like Hellboy could thrive.

In 2008, del Toro directed the sequel, Hellboy II: The Golden Army, which earned even stronger critical acclaim. However, the franchise did not continue beyond that. Del Toro believes that, in today’s Hollywood ecosystem, a third installment would be nearly impossible.

He points out that what made the first two films viable no longer exists: “The success of the first Hellboy on DVD and Blu-ray was phenomenal,” he wrote. “So much so that Columbia executive Ben Feingold pushed hard for the sequel. If I remember correctly, the film’s home video sales even surpassed its theatrical earnings. That kind of outcome would be almost unthinkable today.”

Ultimately, Hellboy represents a unique moment in film history—when passion projects could find life through unconventional paths and strong support from home media audiences.

See interview with Guillermo del Toro (in Spanish):

The evolution of the films of Guillermo del Toro:

Tinkers of the Wasteland

A post-apocalyptic comic full of chickens'n shit!



Now Raul Treviño tells us about his webcomic "Tinkers of the Wasteland":

My webcomic Tinkers of the Wasteland has become a platform for personal healing. Through it, I express thoughts and disagreements with the world around me. The main characters —Milla, Splitter, and Chapi— are reflections of myself. They embody different sides of my personality, emotions, and attitudes — both the ones I like and the ones I struggle with. In a way, Tinkers is my second life, projected into a fantastic world — at least in this first arc of the story.

Publishing it weekly has its own rhythm, and that’s one of the things I enjoy most. As I go through different moments in life —ups, downs, books I read, new experiences— all of it inevitably seeps into the comic. That influence, I believe, enriches the story. I’m certain that if I had rushed and completed it in a few months, it would have turned out very differently. It’s been two years now, and I’m still working on it.

Visually, I’ve always loved the Mad Max-inspired aesthetic since I was a kid, and it felt natural to bring that look into one of my stories. Interestingly, the whole thing started with a random pinup illustration of three characters riding a motorcycle. I looked at them and thought: These guys can tell a story. And that was the spark.

I handle all aspects of the comic myself, from writing to drawing. Still, I often meet up with fellow artists to share ideas, get feedback, and refine some plot points.

Interacting with fans has been one of the most rewarding parts of the process. For the English version, I asked readers to help spot grammar issues or typos in exchange for a credit on the “Thank You” page of both the digital and print editions. That’s been amazing —especially because English isn’t my first language.

As for cosplay —not yet! I haven’t seen anyone dress up as my characters, but I hope it happens someday. That would be such a cool milestone.

Most of the characters were born entirely in my head, except for King Queer, who was clearly inspired by Frank from The Rocky Horror Picture Show. I borrowed heavily from that character. I’m not gay, but I’ve always loved powerful, flamboyant gay villains —they really kick ass. Baron Ashura from Mazinger Z (half man, half woman) is another strong influence.

In Latin America, there are plenty of artists I admire. José Ladrönn is not only a respected colleague but also a close friend — he’s given me valuable advice since I started taking comics seriously. Fco. Ruiz Velazco and Humberto Ramos were also very supportive in my early days, and I’m deeply grateful to them.

As for the future of comic book distribution, I don’t believe print will disappear entirely. I see it shifting —maybe 70% digital, 30% print. The decline of printed media feels inevitable, but I don’t think it will vanish. That remaining 30% might evolve into something more special —limited, collector’s editions. It’s an interesting possibility, and I’m curious to see how it plays out.

As for the future of the distribution of comics, I don’t think book are gonna disappear at all. I think it’s going to be divided into two, maybe 70% digital and 30% printed. In my personal opinion the reduction of the print media is imminent, but not to the point of disappearing. By the course of time I believe that 30% it’s going to be special and limited editions. It is interesting to think so, I hope to see the resolution of this.

Seres Genesis

Now Angel Mario Huerta tell us about his movie "Seres Genesis":

I’ve always loved science fiction, and I guess my main motivation was to create something I truly cared about—something that hadn’t really been done in my country before, at least not at a professional level. I wanted to prove that it was possible to make sci-fi in Mexico. Just imagining spaceships flying over Mexican landscapes was more than enough to get me excited about the project.

Seres: Genesis took around five weeks to shoot, and the entire experience was incredible—I had a great time making it. We used two RED ONE cameras, and it was actually the first feature film in Latin America to be shot with a RED. We started filming just as the first 100 units were released. I chose that camera because of its enormous potential and the fact that it was breaking new ground. I love a good challenge. Visually, I tried to emulate the look and feel of Battlestar Galactica, because I’m a huge fan of the show. It also just fit perfectly with the tone and storytelling style we were aiming for.

The budget was $1.2 million, which we raised through a government incentive program called 226 ISR. Honestly, it’s one of the best systems a government could offer to support filmmaking, especially since it brings private investors into the process—that’s a huge advantage.

As for distribution, I believe technology is making things increasingly accessible. Moving away from 35mm prints and their fragility is a big win for filmmakers everywhere. Digital formats make distribution easier, cheaper, and more controllable. In the long run, this shift will help level the playing field, allowing creativity—not just big budgets—to take center stage.

2033

What happens in Mexico City in 2033?

Now Francisco Laresgoiti tells us about his movie "2033":

2033 is a deeply personal project—at its core, it's a story about the relationship between a father and his son. But it also reflects my vision of what could be Mexico’s most probable future.

The film was shot over 33 days in 20 different locations, with a budget of 2.5 million USD. Many of the locations were provided at no cost. We used an Arricam Lite 35mm camera to achieve a specific depth of field and visual texture, combining saturated and desaturated tones to emphasize extreme heat and sterile environments.

Unfortunately, film distribution in Mexico is chaotic. And while digital distribution offers potential, it’s also likely to be plagued by corruption.

Watch movie.