Argentinian music: Jok’s compilation

Carlos Gardel, “Por Una Cabeza”


Julio Sosa, “La Casita de Mis Viejos”


Astor Piazzolla, “Libertango”


Mercedes Sosa, “Alfonsina Y El Mar”


Jairo, “Amigos Mios Me Enamoré”


Maria Martha Serra Lima, “Sueños”


Oscar Aleman, “Bésame Mucho”


Tonolec, “Pedro Canoero”


Charly Garcia, “Demoliendo Hoteles”


Soda Stero, “El Rito”


Sumo, “La Rubia Tarada”


Virus, “Pronta Entrega”


Los Abuelos De La Nada, “Cosas Mías”


Patricio Rey Y Sus Redonditos de Ricota, “La Hija Del Fletero”

+ version by Cucuza Castiello


Los Fabulosos Cadillacs, “Manuel Santillán”


Luis Alberto Spinetta, “Seguir Vivieno Sin Tu Amor”


Bajofondo, “Pa’ Bailar”


Babasónicos, “Rubí”


Hernán Lucero, “Amores De Estudiante”


Negro Falótico, “Vete De Mí”


Leandro Barrales, “Un Salto Nocturno”


Max Aguirre, “Bailemos”


Kastiello, “Ahora”



Uruguayan music: Santullo’s compilation

Julio Sosa, “Mano a mano”


Julio Sosa, “La cumparsita”


Alfredo Zitarrosa, “Milonga para una niña”


Los Olimareños, “Cielo del 69”


Rumbo, “A redoblar”


Mauricio Ubal, “Al fondo de la red”


Fernando Cabrera, “El tiempo está despues”


Laura Canoura, “Detrás del miedo”


Jaime Roos, “Luces en el Calabró”


Eduardo Darnauchans, “El instrument”


Jaime Roos, “Brindis por Pierrot”


Ruben Rada, “Las manzanas”


Estómagos, “Cambalache”


Los Tontos, “Himno de los conductors imprudentes”


Jaime Roos, “Si me voy antes que vos”


Chocolate, “Mayonesa”


Los Fatales, “Pizza Muzzarella”


Séptimo Velo, “Usando mis pies”


Ojos rojos, “Buitres”


Niquel, “Candombe de la aduana”


Trotsky Vengaran, “Mueve que te mueve”


Cuarteto de Nos, “Yendo a la casa de Damián”


Peyote Asesino, “Mal de la Cabeza”


Santullo, “Dios y el Diablo”


To be continued Monday 12 April



Let’s get back to your own work. Jok, about the texture of your drawings: what kind of paper do you use? what format? and what ink?

JOK: I´ve always been fond of ordinary stationary. Currently, I try to use good materials, but nothing too fancy (some of my colleagues have become stationary sybarites; going the opposite way gives me some silly sense of freedom).

I usually like regular Chinese ink (that I buy in Buenos Aires´ Chinatown) but lately I’m using liquid watercolor (black… and gray on some occasions). For paper, I’ve just bought a big ream of paper (120 grams) which is quite common. I know this answer can be a tad disappointing, ha! Some sybarites around me just can´t stand my proud vulgarity!!

Dungeons & Burglars: plans never work, characters end up with little or nothing; there are no admirable heroes, everyone’s at least partly ridiculous: to what extent does it fit your vision of humanity?

SANTULLO: Well, I don’t think they are in themselves a vision of humanity. In fact, I have a rather optimistic view of humanity. In the case of these characters, the circumstances in which they end up being involved and the consequences they have to put up with are also part of the narrative fabric. That is, if they succeeded and got what they wanted, that would be the end, it would not make sense for them to continue having adventures. Also, I think that in general we all like to cheer up for the underdog, for the loser. There is also the aspect of humour, of generating humour from the repetition of failure, of constant defeat. And finally, seeing that the characters never give up, it seems to me that it also grants them endless willpower, which I think makes them very attractive.

Did you base yourself on what you’ve observed in real life, or is it just a way to be fun? Perhaps it also reflects a certain cinematic tradition?

 SANTULLO: Once again, it does not reflect so much a personal opinion, but rather it is due to the very nature of the story. When we thought about making Dungeons & Burglars, our idea was to generate something not seen exactly as the traditional heroic fantasy and that is how the idea of ​​combining the epic tale with the classic stories of criminals, which belongs to the noir genre, arose. And it is from the crook stories that the main protagonists come out: criminals, thieves, marginals. That kind of character’s point of view works better with the combination of genres than anything else.

For me Dungeons & Burglars got more ambitious. It was like the beginning was warming up, and you went from mock epic to genuine epic.

SANTULLO: It can be, yes, of course it can be. I think that once the universe was defined and the characters were developed, everything was set up to become more ambitious and even epic, why not.

Is there one of your characters you’re particularly fond of?

SANTULLO: With the passage of time and the development of the stories, I became fond of Bolgir and Ednor. They are a lot of fun to write.

I like the joke of Ednor as the character who only expresses himself in questions. What were you trying to do with him?

SANTULLO: His origin was primarily a joke, but in a way he was transformed into a moral compass with his constant interpellations. Ednor is not really a thief. He is not a criminal. He is there for friendship and he would never abandon the rest, that makes him different, so it was logical that he should communicate differently. So he is always asking questions.

Getting a bell from a monastery, or a magic eye from a castle: they act in an organised way, as a group, so it’s also a kind of heist, isn’t it?

SANTULLO: Of course. As I said before, it is the sum of two genres: heroic fantasy and crook stories. The context is that of the worlds of magic, fantastic beings, castles, elves and princesses; but the practical application, let’s say, is that of robberies, assaults, detailed plans, etc.

Is Magnus the character the same as Magnus the translator?

SANTULLO: Yes, he is. It is our humble tribute. Only the real Magnus is a great person, generous and warm. Nothing to do with the trickster Magnus from fiction.

Flashbacks, different points of view on the same event (for example Baladir leaving the battle): do you have conscious goals in the way you tell the story?

SANTULLO: At least I try not to reiterate formulas. I have the anecdote in mind and then I try to develop it. I use all the resources that I can for this. And I always try to make it funny, because I think humour is the main thing in these stories. I usually have a clear ending, the closure, and I try to get there organically.

What else is available by you (in any language)?

SANTULLO: Well, in Spanish I have about seven published prose novels and about forty graphic novels, much of it published in Argentina and Uruguay. In English there is everything from Aces Weekly, of course, and also Dengue (Humanoids), 40 Coffins (Space Goat) and all the books that were released by Virus (the Heavy Metal label) last year: Sleeper, Band of Orcs and Dungeons & Burglars. Dengue (Les Humanoïdes Associés), Far South (Glénat), Quarante Cercueils (Mosquito), etc. also came out in France. In Italy we have been publishing a lot with Jok in Lanciostory magazine. Denmark, Brazil, China, we try to reach everywhere.

La Liga

As a reader I imagine you doing a western with some heroism but mostly lots of ridiculous characters. Or a purely humour-based comic set in everyday life. What do you think?

SANTULLO: Well, western is one of the genres we haven’t gotten into yet but I’m sure we’d really like to do it, don’t you think, Jok? And one of humour and real life we ​​did once! It was called La Liga and it came out online here in Uruguay several years ago. We had so much fun doing it, it was a short daily strip.

JOK: It´d be great to put together a Western, of course! I bet we could find a way of doing something fun. However, the most complicated thing about creator-owned projects is enabling sustainable production. But if any publisher asked for a western from us, I believe we could put something together pretty fast!

To be continued Friday 2 April



Jok, you’re from Argentina, and Santullo from Uruguay. What aspects of your respective countries’ cultures that you find very valuable are unknown in the rest of the world? Can you give us titles of comics that you particularly enjoy, famous or obscure? Can you do the same for music , films, and television series? Perhaps novels too?

JOK: This question is quite big and I´m not sure if I’m capable of providing a proper answer. But I´ll try to stick to a cultural aspect I know first hand.
Everybody makes a direct connection between tango and Argentina, this is a verifiable fact in many countries. But, beyond the classic repertoire, there’s a discovery to be made in this context. Argentinians are nowadays witnessing a whole NEW generation of singers, musicians and writers devoted to tango, contributing to the genre with new interpretations, styles, and even new tango songs. Some of them tend to stick to a traditional approach, and some others have chosen a wild, energetic angle. All of these new artists are worthy of attention (whether you´re a tango fan or not). Many people tend to think of tango as music from the past, but it’s stronger and more alive than ever!

There are many Argentinian comics to be discovered and enjoyed, I´ll name just a few (touching a nostalgic string, just like a tango song, ha!). Beyond the classics (and brilliant) Mafalda and Clemente, I´d like to point out some series I used to love as a teenager that might prove difficult to find, internationally speaking:
– The Magician (Mazzitelli-Alcatena)
– The Moving Fortress (Barreiro-Alcatena)
– Nekrodamus (Slavich-Lalia)
Crazy Jack (Amézaga-Meriggi)
Wolf (Wood-Zaffino)
Consummatum est (Yaqui-Oswal)
– Sherlock Time (Oesterheld-Breccia)

Some of these you might be able to find on the internet… I still find these characters, settings and creators very inspiring. Just like the (distant) day I came across them.

Regarding music, you might want to check out Soda Stereo, Sumo and Virus, some of our best pop-music bannermen from the 80s.

As to films, I´d humbly recommend Nine Queens (a frantic crook comedy), The Man from Next Door (a bizarre thriller/comedy) and Zama (an extravagant historical drama). If you wanted to know more about these films, just let me know (but they might prove difficult to enjoy outside the “Argentinian context”, I´m afraid).

Regarding TV, we have this historical (documentary) series I used to enjoy so much, featuring highly produced dramatisation, dynamic delivery, and cutting-edge edition. It’s called Algo habrán hecho (“They might have done something”), and it is very fast paced as well as surprisingly entertaining!

And there is this novel called Kriptonita about a powerful Superman-esque character raised in a downtrodden, marginal area outside Buenos Aires (who becomes the leader of a very odd, extraordinary gang). It features fun, witty dialogs all along and was written with deep love for old school Super Friends (the cartoon series) and the 80s in general (and was even adapted into a movie, a comic and a series just a few years back).

SANTULLO: Uruguay is very similar to Argentina, we are culturally attached and united (in fact, all the recommendations that Jok made are very popular here), but I’ll contribute from Uruguay itself to give you variety.

A big difference, yes, is that we don’t have such an extensive comic production in Uruguay, both in quantity and in the length of their history, but I can recommend you El Viejo (Alceo and Matías Bergara), Rincón de la Bolsa (Nico Peruzzo and Gabriel Serra), Aloha (Maco), Morir por El Che (Roy and Marcos Vergara) and some of my own books like Los últimos días del Graf Spee, and Zitarrosa (with Max Aguirre).

About music, I recommend you check out the big three songwriters and interpreters from here: Alfredo Zitarrosa, Jaime Roos and Fernando Cabrera. And, if you like metal or hard rock, check out Peyote Asesino, a great band.

Cinema: films like 25 Watts or Whisky. And my favourite Mal día para pescar (Bad Day to go Fishing).

Books: Juan Carlos Onetti, Felisberto Hernández, and the great Horacio Quiroga. I think you can find English translations.

To be continued Monday 29 March


















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