El Eternauta (tv series)

El Eternauta, the Argentine series directed by Bruno Stagnaro and based on the legendary graphic novel by Héctor Germán Oesterheld and Francisco Solano López, has brought one of the most influential Spanish-language works of science fiction to the screen with both technical ambition and deep respect for its original spirit. At its core, the series embraces the concept of the “collective hero” —a foundational idea in the story and one that Stagnaro champions as a political and cultural stance against individualism.

From the outset, El Eternauta declares that survival is not an individual act but a collective endeavor. This theme permeates the narrative and is mirrored in the collaborative nature of the production itself. The plot unfolds in a Buenos Aires gripped by a deadly, mysterious snowfall that wipes out much of the population. As the survivors begin to understand they are facing an alien invasion, they realize that unity is their only path forward. To preserve the urgency and social resonance of the original story, Stagnaro chose to set the adaptation in the present day.

One of the most striking creative decisions was casting 68-year-old Ricardo Darín as Juan Salvo, a character portrayed as much younger in the original comic. Stagnaro initially questioned the choice due to the physical demands of the role, but ultimately saw in Darín’s age an opportunity for deeper symbolism. By connecting the character to the generation of Argentine veterans from the 1982 Falklands War, the series adds layers of emotional and historical meaning. This perspective is echoed in one of the show’s recurring lines: “old things work.” It’s a reference not just to analog technology that survives the snowfall, but to human experience and resilience in a culture obsessed with novelty and youth.

Bringing El Eternauta to life also required cutting-edge technology. To create its dystopian vision of Buenos Aires, the team turned to Unreal Engine —a software platform originally designed for video games and now widely adopted in film and television. Using this tool, real-world locations throughout the city were digitally scanned and reimagined as detailed three-dimensional environments.

These virtual sets were then projected onto massive LED walls during filming, a process known as virtual production. This technique allowed actors —including Darín and César Troncoso— to perform within immersive digital landscapes in real time. More than just a visual upgrade, this approach gave the creative team tighter control over mood and tone, transforming Buenos Aires into a fully integrated character within the story rather than a passive backdrop.

Visual effects supervisor Ignacio Pol emphasized that one of the production’s greatest challenges was making Buenos Aires feel both authentic and transformed —a city viewers could recognize, yet altered by catastrophe. Its presence had to communicate emotion, memory, and loss in a single frame. Achieving that required painstaking attention to detail and a production process that spanned years.

The series was the result of an unprecedented collaborative effort among several Argentine studios — including Control Studio, Many Worlds, Beat, Malditomaus, and Bitt Animation— alongside international partners. Virtual production involved months of research, 3D modeling, texture design, on-set coordination, and over a year of meticulous post-production, during which every shot was reviewed alongside Stagnaro to fine-tune its visual storytelling.

Beyond the technical sophistication, Stagnaro sees El Eternauta as an opportunity to build an Argentine heroic mythology —one rooted in local identity yet capable of resonating globally. Rather than softening cultural references to appeal to an international audience, the series proudly amplifies them. It’s a deliberate choice grounded in the belief that authenticity, not universality, is what fosters true connection across borders.

Nearly seventy years after its original publication, El Eternauta remains a story of resistance, solidarity, and memory. Oesterheld’s visionary work begins a new chapter —where art, technology, and collective spirit come together to once again remind us that in the face of catastrophe, no one is saved alone.

Planeta Inquietante

Planeta Inquietante is a comic that serves as both a parody and a tribute to the Ancient Astronauts theory, popularized in the 1970s by Erich Von Däniken. This theory suggests that extraterrestrials visited Earth in ancient times and influenced early human civilizations. Supporters believe these beings helped with technology, inspired myths, and were seen as gods. 

The comic’s creative team includes José Ramírez (magazine editor), artists Gustavo Rubio, Ángel Bernuy, Jen del Pozo, and Conrado Martín, with Adolfo Rodríguez in charge of scriptwriting and creative direction.

While they acknowledge that comics are receiving more attention today, there remains skepticism about whether publishers fully understand how to capitalize on this interest to broaden their readership. Furthermore, they argue that print comics and webcomics are not mutually exclusive; instead, they can coexist and even support each other. The reading experience varies depending on factors such as screen size and tactile interaction, and these differences should inform publishing strategies. Ideally, digital comics should go beyond being mere PDFs formatted for print and instead make use of the unique capabilities of digital platforms.

Cosmic Magazine

Cosmic is a comic magazine that brings together multiple stories and artists. The idea was born years ago, inspired by the legacy of Máximo Carvajal—a prominent Chilean comic artist and mentor to our editor, Fyto Manga. Before his passing, Carvajal urged Fyto to "never stop fighting for [Chilean] comics", and that became his driving motivation.

While working on projects for other creators, Fyto began developing his own characters and stories, gradually weaving them into a shared universe. Later, he invited other artists to contribute their own narratives, leading to the creation of a “multiverse.” Cosmic currently features seven interconnected storylines, all subtly tied together. Most of the protagonists are children or teenagers, and the unifying concept across these stories is bio-acceleration—a unique condition that grants them special abilities.

The creative process starts with story development, which is then divided among the scriptwriters. Once a script is complete, it’s handed off to a designated artist who provides a layout. After layout approval, the final comic is produced. Throughout this process, the team is careful to maintain consistency within the "Cosmic Universe" and ensure the connections between stories remain subtle yet meaningful.

The Cosmic team is small but multi-skilled. Paulina Verdejo, an electronics engineer and comic enthusiast, serves as editorial director. Fyto Manga, a comic artist and illustrator, is the editor. Creative support comes from Juan and Pedro, while Pedro and Valentina write scripts. Nell handles publicity and gives counsel, and the team of comic artists includes Jade, Cecy, Crispawn, Rina, Romina, Sergio, and Pablo.

Although Cosmic is currently a local publication, copies are available for international readers via traditional mail—we recently sent one to a friend in Italy!

When it comes to comics in general, the team believes that the digital era is reshaping the industry, and comics are no exception. Readers want quick access, preferably online—and if there’s animation involved, even better. Webcomics are clearly the future. That said, there’s still a passionate audience for print editions. For many, a physical comic is a treasure. Print continues to hold value in the world of comics.

In terms of distribution, webcomics have the potential to reach far more people than printed editions—but only if they’re free to access. That creates a challenge: either charge readers, or bring in sponsors. Both routes are complicated. Some creators take the risk and rely on popularity to attract sponsorships through traffic and views. The Cosmic team chose a slower path, but that doesn’t mean they won’t explore the digital landscape. Their universe is just getting started.

Black

Now Julio Acuña Formador tells us about his comic "Black":

Black was born when I was thirteen years old. Back then, I dreamed of creating a superhero inspired by Tim Burton’s Batman and Carl Macek’s Robotech (a strange mix, I know —but I was just a kid). Over the years, that concept evolved, and through it, I discovered my passion for storytelling.

By 1997, the idea had transformed into what Black is today —a project that still continues. Initially, I just wanted to draw a cool, modern superhero and dreamt of getting published in the U.S. But over time, the focus shifted. Now, Black is about Chilean teenagers, their daily lives, and the mistakes we all make growing up. These characters live, love, fear, cry, and grow. To me, the characters of Black are like my children, and when I write, I truly believe the readers can feel that connection. I think that’s a big part of why the series has resonated with people.

I’ve always admired many artists. Among the Chileans: Themo Lobos (Ogú and Mampato), Mario Igor (Sigfrido, Mizomba the Untouchable), and Genzoman (illustrator). I also have great respect for Lucho Olivera (Gilgamesh the Immortal), Rubén Meriggi (Wolf, Crazy Jack), Ariel Olivetti (Cazador), Mandrafina (Savaresse), Toppi (Thalerg), Nik (Gaturro), and of course, Quino (Mafalda).

As for the future of comic book distribution, I’m cautious —not because I’m an expert, but because I can only speak from my experience here in Chile. We still rely heavily on print. While digital comics are growing, printed editions remain popular. In fact, many readers here download scans online but then go out and buy the print version. One local publisher, which distributes Marvel and DC, has proven that Chileans still love physical comic books.

Of course, print has its challenges. Publishing is expensive, and there aren’t many comic publishers in Chile. Most creators —myself included— have to self-finance our work and publish independently. The upside is that this creates a more personal and direct connection with readers. Handing someone a physical copy and getting immediate feedback is incredibly rewarding, and it builds a solid, grassroots distribution network.

Digital comics have advantages, though. They’re easier and cheaper to publish —just a scanner or digital tablet, a graphics program, and an internet connection. But Chile still struggles with slow internet, and platforms like HTML5 (such as Wix) can be tough to manage. We often rely on simpler options like Blogger or WordPress and promote through social media —Facebook, Twitter, and Instagram. The biggest benefit of digital publishing is global reach: your work can travel faster and reach more readers.

That said, I plan to publish Black in the United States. The English version of the comic is on the way—our first big step in expanding to international audiences.

Over these three years of publication, there have been many memorable moments. The fans of Black have become an essential part of the series. They comment, suggest ideas, and even debate the romantic entanglements of the characters —especially the love triangle between Eric, Claudia, and Inés. Some readers are firmly Team Claudia, while others argue Eric should find someone new. It’s hilarious and heartwarming. I’ve even received help from readers with technical details —one fan provided scientific information that’s now part of the comic’s plot.

At Chilean comic conventions, I’ve seen this same engagement in person. Readers give feedback, share ideas, and connect deeply with the characters. For me, that’s what keeps a comic alive: the readers.

And yes, many of the characters are based on real people. Eric is me in high school. Alberto, aka the Boogie Man, is based on my high school friend Alfredo Santana. Víctor is inspired by an old "bad boy" who used to call me, “Teddyyyyyy…” Claudia is a mix of girls I liked in the past, while Inés represents a part of myself —my Christian side— and a bit of Winona Ryder from Lucas.

Black is created by just two people: my fiancée Loredanne and me. I write, draw, ink, and apply screentones, while she serves as the editor-in-chief.

Truly, Black is the work of my life.

Kaliman

Kalimán first appeared on Mexican radio on September 16, 1963, through the RCN network. The character was created by Modesto Vásquez González —a Cuban lawyer and broadcaster who relocated to Mexico after the Cuban Revolution— and the Mexican writer Rafael Cutberto Navarro. The scripts were written by Víctor Fox (a pseudonym for Héctor González Dueñas) and Clemente Uribe. The radio show quickly became a massive success, leading to its adaptation into a comic book in 1965, published by Promotora K.

The comic ran for 26 uninterrupted years, producing over 1,300 original issues. Each edition sold between 1.5 and 3 million copies, making Kalimán one of the most widely read comic series in Latin America, with distribution expanding to Central America and beyond.

Interestingly, Kalimán was not initially the protagonist. That role belonged to Solín, a dethroned Egyptian prince and a child descended from pharaohs. Kalimán was originally conceived as his protector and guide. But over time, Kalimán’s popularity outshined that of Solín, and he became the central figure in the series.

Kalimán is portrayed as a man of striking beauty, unwavering calm, and moral integrity. His philosophy is summarized in a single phrase: “He who masters the mind, masters everything.” Unlike most Western superheroes, Kalimán does not rely on superpowers, weapons, or secret identities. His abilities come from years of physical discipline and mental training with Tibetan monks. He can levitate, use telepathy, hypnotize individuals or crowds, and control his vital functions to the point of faking death. He is a master of martial arts, speaks every language, and possesses encyclopedic knowledge combined with profound spiritual wisdom.

The character’s origin is loosely tied to Hindu mythology: Kalimán is said to be the seventh descendant of the goddess Kali, whose name he carries along with the suffix “-man,” a nod to the popularity of Superman. He has dedicated his life to justice and uses his powers to confront evildoers across the globe, from pirates and vampires to rogue scientists and criminal syndicates.

The transition from radio to comics exemplifies a successful case of transmedia storytelling —maintaining the same narrative essence while adapting to different formats. Radio relied on the power of voice and sound, while the comic book medium enriched the story through dynamic visuals and text, creating a new layer of immersion for the audience.

Kalimán’s lasting appeal lies in his uniqueness. In a world filled with superheroes who rely on violence or technology, Kalimán embodies an alternative ideal: strength through wisdom, serenity, and mental mastery. His iconic catchphrase —“Serenity and patience… great patience”— reflects a timeless message that continues to resonate with generations of fans. Kalimán remains a cultural icon, a hero shaped not by fantasy but by the inner strength that lies within us all.

Tinkers of the Wasteland

A post-apocalyptic comic full of chickens'n shit!



Now Raul Treviño tells us about his webcomic "Tinkers of the Wasteland":

My webcomic Tinkers of the Wasteland has become a platform for personal healing. Through it, I express thoughts and disagreements with the world around me. The main characters —Milla, Splitter, and Chapi— are reflections of myself. They embody different sides of my personality, emotions, and attitudes — both the ones I like and the ones I struggle with. In a way, Tinkers is my second life, projected into a fantastic world — at least in this first arc of the story.

Publishing it weekly has its own rhythm, and that’s one of the things I enjoy most. As I go through different moments in life —ups, downs, books I read, new experiences— all of it inevitably seeps into the comic. That influence, I believe, enriches the story. I’m certain that if I had rushed and completed it in a few months, it would have turned out very differently. It’s been two years now, and I’m still working on it.

Visually, I’ve always loved the Mad Max-inspired aesthetic since I was a kid, and it felt natural to bring that look into one of my stories. Interestingly, the whole thing started with a random pinup illustration of three characters riding a motorcycle. I looked at them and thought: These guys can tell a story. And that was the spark.

I handle all aspects of the comic myself, from writing to drawing. Still, I often meet up with fellow artists to share ideas, get feedback, and refine some plot points.

Interacting with fans has been one of the most rewarding parts of the process. For the English version, I asked readers to help spot grammar issues or typos in exchange for a credit on the “Thank You” page of both the digital and print editions. That’s been amazing —especially because English isn’t my first language.

As for cosplay —not yet! I haven’t seen anyone dress up as my characters, but I hope it happens someday. That would be such a cool milestone.

Most of the characters were born entirely in my head, except for King Queer, who was clearly inspired by Frank from The Rocky Horror Picture Show. I borrowed heavily from that character. I’m not gay, but I’ve always loved powerful, flamboyant gay villains —they really kick ass. Baron Ashura from Mazinger Z (half man, half woman) is another strong influence.

In Latin America, there are plenty of artists I admire. José Ladrönn is not only a respected colleague but also a close friend — he’s given me valuable advice since I started taking comics seriously. Fco. Ruiz Velazco and Humberto Ramos were also very supportive in my early days, and I’m deeply grateful to them.

As for the future of comic book distribution, I don’t believe print will disappear entirely. I see it shifting —maybe 70% digital, 30% print. The decline of printed media feels inevitable, but I don’t think it will vanish. That remaining 30% might evolve into something more special —limited, collector’s editions. It’s an interesting possibility, and I’m curious to see how it plays out.

As for the future of the distribution of comics, I don’t think book are gonna disappear at all. I think it’s going to be divided into two, maybe 70% digital and 30% printed. In my personal opinion the reduction of the print media is imminent, but not to the point of disappearing. By the course of time I believe that 30% it’s going to be special and limited editions. It is interesting to think so, I hope to see the resolution of this.

Los Marcianitos

Plutin, Satur and their friends travel from Mars to Bogota.

This is a colombian comicstrip published in the Los Monos of the newspaper El Espectador, during the eighties.

Lorna and her Robot

Lorna is a comic book character created by Spanish illustrator Alfonso Azpiri and writer Carlos Sainz Cidoncha, first appearing in 1980 in the magazine Mastia. Inspired by Barbarella and playfully parodying space operas like Star Wars, Lorna is a bold and sensual galactic adventurer, accompanied by her robot Arnold —a sort of heterosexual C3PO with erotic functions.

Initially, the series leaned heavily into erotic comedy, featuring voluptuous heroines and cheeky, light-hearted scenarios that reflected the sexual liberation of Spain’s post-Franco destape era. Over time, however, the stories evolved into more sophisticated science fiction narratives, while still maintaining the erotic charm that defined the character.

Lorna's publication history was somewhat erratic. She first appeared as a secondary feature in magazines such as Cimoc, later starred in special issues, and eventually headlined her own collected volumes. Azpiri’s vivid and distinctive watercolor illustrations quickly became his trademark, cementing his place as a master of Spanish comic art.

Beyond print, Lorna expanded into other media. She starred in a 1990 video game developed by Topo Soft, was the subject of a failed animated series project, and even featured in a crossover with Bethlehem Steele, a character from Penthouse Comix.

Following Azpiri’s passing in 2017, the future of Lorna remains uncertain. Yet her legacy lives on as a cult icon of erotic sci-fi —a singular fusion of sensuality, humor, and space-age imagination that continues to captivate generations of comic readers.