Comicguía (translating to Comic Guide) is one of the most significant and enduring fanzines dedicated to the study and preservation of comic books in Spain. Founded in Valencia in 1976 by the influential comic historian, critic, and editor Francisco Tadeo Juan, the publication originally served as a modest catalog and novelty bulletin for foreign imports carried by the specialized bookstore Telio. However, it quickly outgrew its commercial origins and shifted its focus toward serious independent research, establishing itself as a vital piece of Spanish prensa teórica (theoretical press surrounding comics).
The fanzine underwent a defining evolution in its formatting and naming conventions over the years. In its earliest iterations, it bore the subtitle “Boletín divulgativo de la Historieta española” (Informative Bulletin of the Spanish Comic). This was permanently updated in its eighth issue (Winter 1984) to the iconic and definitive “Cuaderno de la Historieta” (Comic Workbook). Operating without a rigid publication schedule, often settling into an annual rhythm, each issue varied dynamically in length, typically spanning between 28 and 64 pages wrapped in a softcover format.
Editorial focus was driven by a deep sense of historical recovery and nostalgia. Rather than chasing passing contemporary trends, Comicguía prioritized documenting the classic, golden age era of Spanish cartooning, highlighting forgotten local creators, and tracking down Spanish works that had been published abroad but remained unreleased at home. It frequently printed deep-dive articles on legendary figures and titles—such as Manuel Gago’s “El Guerrero del Antifaz”, José Sanchis, and Víctor de la Fuente. A highly ambitious ongoing feature began in the twelfth issue (1986), where Tadeo Juan launched his serialized “Conciso Diccionario Universal del Cómic” (Concise Universal Dictionary of Comics) directly within the fanzine’s pages.
The longevity of Comicguía is a testament to the community it fostered, relying on a robust roster of regular, dedicated collaborators who shared Tadeo Juan’s passion. Notable comic scholars, historians, and illustrators contributed over the decades, including Enrique Martínez Peñaranda, Luis Conde Martín, José Vicente Bort, Miguel Ángel Fernández Soto, Arturo Rojas de la Cámara, and Nené Estivill. This collaborative network allowed the fanzine to survive major shifts in the publishing industry, ultimately producing 62 core issues and two massive special editions by the time its main run concluded around 2005.
To commemorate the immense footprint of the publication, Francisco Tadeo Juan self-published a massive 310-page retrospective book in 1997 titled “Comicguía. Historia de una revista sobre cómics: vivencias, recuerdos y anécdotas con ilustraciones inéditas”. Featuring a striking cover by artist Rafael Fonteriz, the volume collected decades of memories, historical anecdotes, and previously unreleased artwork. Today, Comicguía is remembered by historians as a crucial repository of cultural memory that single-handedly rescued large portions of Spain’s rich cartooning legacy from obscurity.
The Phantom was published in the series in Comicguía edition number 43, which was published in Spain in the the Autumn of 2000. This particular edition consists of 60 black and white pages, all presented in the Spanish language. The Phantom is prominently featured on the front cover, as well as within the pages, specifically from page 4 to page 26. The front cover of this edition can be seen below containing an illustration by Carlos Cruz.
The Phantom, historically known in Spain as El Hombre Enmascarado or El Fantasma, is the central theme of this issue, featured in four main text pieces and comic segments:
1. “The Phantom Today. Un Fantasma de Ida y Vuelta en España” (The Phantom Today: A Round-Trip Ghost in Spain)
- Author: F.T.J. (Francisco Tadeo Juan)
- Pages: 3–7
- Description: This article serves as a comprehensive homage not only to creator Lee Falk but to the numerous artists who kept the character alive over the decades. The author critically reviews the history of the strip, discussing the foundational work of Ray Moore, the more simplistic period under Wilson McCoy, and the revitalization brought by Sy Barry. It heavily details the character’s modern era under the Scandinavian publisher Egmont Group, praising its roster of European artists, specifically spotlighting Spanish and international illustrators like Carlos Cruz, César Spadari, Romano Felmang, Joan Boix, and Jaime Vallvé. It also tracks the publication history and censorship updates of the character within Spain and its massive popularity in countries like Australia.
2. “La Sombra que Camina” (The Ghost Who Walks)
- Author: Agustín Riera
- Pages: 9–13
- Description: A nostalgic and analytical essay exploring why The Phantom captivated Spanish readers when he was first introduced by publisher Hispanoamericana in the 1940s. Riera highlights the character’s status as the first costumed, masked comic hero and compares his mythos to other literary and pulp giants (such as Tarzan, The Shadow, and Doc Savage). The piece explores iconic elements of the lore: the exotic, ambiguous setting of Bengal; his companions Hero and Devil; his dual rings; the Skull Cave; his ancestry dating back to 1536; and the prominent, adventurous role of his eternal love, Diana Palmer.
3. “Las Edades de Oro” (The Golden Ages)
- Author: Pgarcía (President of the Academy of Humor)
- Pages: 14–16
- Description: Writing under the column “Memorias de un lector de tebeos” (Memoirs of a Comic Reader), the author discusses the concept of a reader’s personal “Golden Age”, the specific era in childhood when one is violently drawn into the world of fantasy. For the author, his personal Golden Age was entirely defined by El Hombre Enmascarado. He fondly recalls saving up his small allowance in the 1940s to buy the large, horizontal comic books, recounting the profound, indelible impact that seeing The Phantom in his signature red cowl (as colored in the Spanish/Italian editions) had on his childhood imagination.
4. “Una Elección Mortal” (A Deadly Choice – 1st Installment)
- Creators: Script by Moberg, Art by Carlos Cruz
- Pages: 18–26
- Description: The first chapter of a serialized Phantom comic strip translated into Spanish. The story opens with a brief overview of the classic Phantom origin lore: the 1536 pirate attack by the Singh Brotherhood, the death of Christopher Walker’s father, his rescue by the Bandar pygmies, and his solemn oath upon the skull. The main plot then kicks off in modern times at the Morristown Airport in Bengali, where airport security encounters a suspicious group of heavily armed mafia operatives attempting to smuggle contraband through security.
A sample of internal page can be seen below.
