The collaboration between the Aragonese historian Julián Casanova and his son Miguel has given rise to a unique project that combines historical dissemination and graphic narrative. Based on the original essay about the Civil War, they have both promoted a new work that reinterprets that book to reach a wider audience, especially among young readers.
The starting point is the well-known essay 'Spain divided in two'Published by Crítica, in which Julián Casanova condensed the three years of the conflict into just a few hundred pages. Now, that historical perspective is transformed into comic Thanks to the script by his son Miguel and the active participation of the historian himself, with the intention that the work be read both in homes and in classrooms and educational centers.
From a landmark essay to a graphic novel for all audiences
The project arises from the challenge of turning a synthetic essay on the Civil War into a 160 page graphic novelPublished by Planeta Cómic in collaboration with Crítica, the comic was adapted by Miguel Casanova, a screenwriter from Zaragoza, who worked closely with his father throughout the adaptation process to ensure it retained the tone and rigor of the original book.
Julián Casanova had already faced an enormous effort when summarize three years of war in a relatively short text. The adaptation into a comic book has been, in Miguel's words, a "synthesis of a synthesis": each line of the essay could become, when translated into panels, several pages of comic strip. Hence, one of the great difficulties was deciding which episodes and reflections should be left out so that the story would flow visually without losing depth.
The result is a lengthy but manageable comic that combines historical scenes with more intimate and reflective moments. The structure allows the reader to follow the evolution of the conflict while it is placed in context. current debates on memoryViolence and democracy, elements that were already present in Julián Casanova's approach but which here are translated into direct images and dialogues.
The official presentation of the work has been organized in the University auditoriumIn the Aula Magna, with an event open to the public until capacity is reached. This meeting, moderated by filmmaker Paula Ortiz, features Julián and Miguel Casanova along with Valencian illustrator Carles Esquembre, highlighting the collaborative and collective nature of the project.
A comic to combat misinformation and talk about historical memory
One of the central purposes of adaptation is fight against hoaxes and disinformation that circulate about the Spanish Civil War, especially on social media. Miguel Casanova insists that the work reflects the clarifying approach that has characterized his father's articles, books, and lectures for years, and that it is now translated into a more visually direct format.
The graphic novel seeks to recall episodes and events that, according to its authors, They seem to fade into the background of public debateIn contrast to simplistic interpretations that reduce the conflict to a kind of confrontation between grandparents or an event in which "everyone lost equally," the comic presents a nuanced narrative, supported by historical research, but at the same time accessible to those who do not usually approach academic essays.
In this context, the Casanovas echo recent debates in Spain, such as discussions about democratic memory, exhumations, and the role of victims of the dictatorship. The work highlights that even today there are controversies about how to narrate the pastand that these discrepancies have consequences for how new generations understand the origin of current democracy.
The intention is not only to explain the Civil War, but to show how the absence of solid learning The information about that period influences contemporary opinions and perceptions. The authors emphasize that the lack of rigorous education in schools and colleges leaves a void that is often filled with misinformation, clichés, and extremist messages shared on social media.
Comics, therefore, are presented as a tool for dissemination but also as a form of to invite critical reflectionThose who read it will not only learn about facts and chronologies, but will also be challenged on how our society confronts the traumatic past and constructs its collective narrative.
Young people, surveys, and the gap in historical knowledge
The development of the project has been influenced by the impact of recent studies, such as the CIS survey which indicated that around a 20% of young people between 18 and 24 years old He believes that life was better during Franco's dictatorship. For Miguel Casanova, this data has less to do with a massive rise in fascism than with a large amount of accumulated ignorance.
The screenwriter believes the real problem is that for years it has undervalued the study of the Civil War And the dictatorship's impact on education has created gaps in the understanding of younger generations that are difficult to fill. In his opinion, when the consequences of the coup, the repression, and the lack of freedoms are not properly explained, simplistic or nostalgic messages are more likely to take hold.
Even so, Miguel points out that there is a considerable number of young people interested in learning about the origins of modern Spain and the events that shaped the second half of the 20th century. It is precisely this curiosity that the graphic novel aims to channel, offering a more attractive entrance door to recent history than a traditional textbook.
The comic is not intended to replace the original essay, but rather to serve as a complement that sparks a desire to continue reading and delve deeper. Its creators hope that, after reading it, many readers will move on to other history books, documentaries, or courses that explore the political and social processes of the period in greater detail.
In parallel, the work is also conceived as a useful tool for the secondary and high school teacherswho often seeks more visual materials to accompany the classes. graphic format It can facilitate classroom discussions and help students who are not attracted to dense texts to approach these contents with less prejudice.
Narrative in comic strips: from the Congress of Deputies to February 23rd
The graphic novel opts for a narrative structure that connects past and present through a symbolic space: the Congress of Deputies. The story begins in the Lower House, with the cleaning staff tidying the chamber after the vote that authorized the exhumation of Franco from the Valley of the Fallen, and concludes there as well, in the moments of the attempted coup d'état of February 23.
In the prologue, the cleaning women move among benches and papers while the echo of the political debate surrounding the exhumation is still perceptible. This everyday scene serves as a starting point to go back in time and show how did we get to that pointthrough a historical journey that includes the Republic, the war, the dictatorship, and the transition.
The epilogue, meanwhile, is set on another key day: February 23, 1981. From the perspective of a congressional janitor, the gunfire and chaos generated by the coup plotters are observed, while a speech is heard that vindicates the need for recognize the victims, open mass graves and restore the dignity of those who suffered Francoist repression.
Both narrative frameworks foreground women who work in Congress and who, without appearing on magazine covers or leading debates, are direct witnesses to historic decisions. In this way, the work incorporates a perspective that makes the female experience visible on the margins of institutional politics, in line with recent trends in historiography and historical comics.
This interplay of times and voices allows readers to build bridges between events from decades ago and current discussions about democratic memory, the reinterpretation of spaces, and the recognition of victims, showing that today's decisions are deeply rooted in that conflict.
The drawing of Carles Esquembre and the tradition of historical memory comics
The graphic design is by Carles EsquembreA Valencian illustrator who specializes in works related to historical memory and socially conscious literature. His style has already been seen in titles such as the trilogy dedicated to Republican poets, in which he explored the figures of Miguel Hernández, Federico García Lorca, and the Machado brothers, also published by Planeta Cómic.
For this adaptation of 'Spain divided in two', Esquembre opts for a black and white treatment which reinforces the sober and reflective tone of the story. The use of light and shadow helps to recreate the atmosphere of a period marked by polarization, violence, and repression, but without resorting to gratuitous sensationalism or excessive visual drama.
The choice of black and white also aligns with other historical memory comics that have become established in the European market, where the limited use of color often underscores the temporal distance and the gravity of the events narrated. In this case, the restricted palette helps to focus attention on the composition of panels, gestures and settingsavoiding distractions and keeping the focus on the narrative.
Esquembre's work is not limited to illustrating events; it incorporates visual resources to mark changes in tone, temporal transitions, or moments of inner reflection. The alternation between wide shots, crowd scenes, and close-ups of anonymous characters allows the story to be perceived both in its collective dimension and in its impact on specific lives.
With this new title, the cartoonist expands a career in which he has dedicated himself to reinterpreting, through graphic novels, both historical episodes and the work of fundamental authors of Spanish culture, consolidating a link between comics, memory and literature which connects with the concerns of readers in Spain and other European countries interested in these formats.
The career of Miguel and Julián Casanova beyond comics
Miguel Casanova's participation in this project is based on his experience as screenwriter and screenwriting professorwith previous work in short films, feature films and television series. He has been involved in the development of films such as 'While the War Lasts', by Alejandro Amenábar, and 'The Daughter', by Manuel Martín Cuenca, as well as in series such as 'The Day After Tomorrow', by Mariano Barroso, or 'La Fortuna', also directed by Amenábar.
This audiovisual background influences the way the comic is conceived, with a clear cinematic sensitivity in the stagingThe pacing of the sequences and the construction of the dialogues are noteworthy. It's no coincidence that Miguel has confessed his desire to one day see his father's essay turned into a film, although he acknowledges that such a production would be much more expensive than a graphic novel.
For his part, Julián Casanova, originally from Valdealgorfa (Teruel), has established himself as one of the most renowned historians in the study of the Spanish Civil War, the Second Republic, and the Francoist dictatorship. In addition to her academic work, she has distinguished herself through her commitment to public outreach in print, radio, television, and social media, with frequent appearances in Spanish and European media.
His constant public presence, coupled with a vast bibliography, explains why he is often described as an author who is “always relevant.” Among other accolades, he is scheduled to receive one of the Owl AwardsThese awards recognize contributions to culture and the dissemination of knowledge. This type of award reinforces its role as a bridge between historical research and society.
The combination of both trajectories, that of the historian and that of the screenwriter with audiovisual experience, makes this adaptation a meeting point between academic precision and contemporary narrative languageuniting generations and disciplines to bring the Civil War closer to readers who might never have opened a specialized essay.
Overall, the comic inspired by 'Spain divided in two' is presented as a proposal that combines historical rigor, pedagogical intention and an attractive format, with the direct involvement of Julián and Miguel Casanova and the drawing of Carles Esquembre, to offer readers in Spain and Europe a clear, critical and accessible look at a past that continues to mark the political and social life of the present.
