Abstract
This article discusses the connections between the comics Ronin (1983-1984), by Frank Miller, and Cangaço Overdrive (2018), by Zé Wellington and Walter Geovani. Both works were pioneers in their connection with different artistic traditions — while Ronin anticipated the cyberpunk movement, Cangaço Overdrive articulated elements that would later make up sertãopunk before the movement took shape. Both have as their starting point the resurrection of a figure from a historic past in a dystopic future, but differ in the way in which they develop the relationship between these figures and the world to which they return in their temporal displacement — that is, they deal in a radically different way with the relation between past and future. Based on this comparison, it is argued that the superficial similarities between the two works are less significant to their joint analysis than their different apprehensions of late capitalism, expressive of the literary movements to which they are associated and their respective ideological frameworks.
Keywords
Sertãopunk
; Cyberpunk; Comics; Dystopia; Hybridism
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