The world of comics and collecting in Spain has a rich tradition of independent publications, among which the Comic Release Fanzine (also abbreviated as C.R.F.) stands out. This work was born from the drive of the Comic Release Group (CRG), a community dedicated to the promotion and preservation of the ninth art. Through its pages, the fanzine established itself as a meeting place for fans, critics, and independent creators, offering an analytical and enthusiastic look at the current state of the industry.
The trajectory of this publication was marked by a very specific frequency and a limited editorial lifespan. The series formally began its journey in the early 2000s, achieving a significant milestone in its history with the release of its fifth edition in March 2005. Throughout its existence, the collection totaled a very limited number of editions, maintaining its status as a cult object before reaching its definitive conclusion.
Within the usual content published in the fanzine, readers could find a wide variety of informative and opinion sections. The magazine opened with an analytical editorial led by Fray-Tuko that combined humor with reflections on popular culture, including sharp critiques of superhero film adaptations of the era. Likewise, the summary included comprehensive international news sections focused on the United States market (reviewing new releases from imprints like WildStorm, Vertigo, and DC), a review of publishing novelties in Spain (such as Panini, Planeta, and Norma), movie reviews, interviews with collective members, and fan art galleries.
The fanzine also hosted spaces for critical analysis and serialized fiction. The section “Érase una vez” (“Once Upon a Time”) by El tertuliano enmascarado stood out, reviewing the editorial history of comics with a satirical approach. In the literary sphere, the magazine offered its readers stories in installments such as “Un serial como los de antes” (“A Serial Like the Old Days”), a science fiction and mystery story written by Jekyll that followed the adventures of characters like Sara and Luis in surreal and space settings.
Regarding the comic strip characters and comic books reviewed in its pages, variety was one of the publication’s strong points. The fanzine dedicated extensive commentary to fundamental figures of American comics such as Wolverine (Lobezno) and The Punisher (El Castigador), analyzing their “love-hate” dynamics in works like El santuario del mal. There was also room for independent and auteur comics with reviews of Warren Ellis’s Global Frequency, sports manga with Morikawa Jyoji’s Hajime no Ippo, and even the legendary figure of Storm (Tormenta) from the X-Men, analyzing her magnetism through an article titled Relaciones Tormentosas (Stormy Relationships).
Finally, the fanzine presented an exhaustive list of the comics shared digitally by the group. Among the characters compiled in their archives were major comic icons such as Spider-Man, Batman, the Justice League (JLA), Daredevil, Thor, Hulk, as well as European and independent classics like Judge Dredd, the works of Hugo Pratt (Morgan), and adaptations of the Cthulhu Mythos.
Comic Release Fanzine edition number five was published in 2005 containing 36 full color pages. The front cover can be seen below.
This edition contains an article on The Phantom (or El Hombre Enmascarado as he’s known in Spain), a character who starred in the Grandes Héroes Clásicos (Great Classic Heroes) section. The fanzine dedicated an extensive five-page article to reviewing the history of the legendary hero created by Lee Falk in 1936, who is considered the first costumed and masked vigilante in newspaper comic strips.
The text detailed the origins of the Bengala dynasty, the oath against piracy, and the character’s artistic evolution through the pencils of his historical artists: from the mysterious stroke of the original Ray Moore, through the simplification of Wilson McCoy, up to the academic and modern era of Sy Barry. In addition to analyzing his mythology, such as the Skull Cave, the Bandar pygmies, or his iconic ring, the article addressed the cultural impact of the series during World War II and reviewed the turbulent Spanish editions published by houses like Hispano-Americana, Dólar, Bruguera, Vértice, and Valenciana. A sample of these pages can be seen below.
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