Un relato de ritmo infernal que comienza en el Tigre, sigue en Nueva York y termina sin terminar en el espacio exterior. Continuación, novelada, de las aventuras del mítico Juan Salvo otra vez en la Tierra. Besides discussing El Eternauta and Daytripper, David William Foster utilizes case studies of influential works-such as Alberto Breccia and Juan Sasturain's Perramus series, Angelica Freitas and Odyr Bernardi's Guadalupe, and others-to compare the role of graphic narratives in the cultures of both countries, highlighting the importance of Argentina and Brazil as anchors of the production of world-class graphic narrative. El eternauta y otros cuentos de ciencia-ficción JEdición novelada de El Eternauta más relatos cortos. In Brazil, serious graphic narratives such as Fabio Moon and Gabriel Ba's Daytripper, which explores issues of modernity, globalization, and cross-cultural identity, developed only in recent decades, reflecting Brazilian society's current and ongoing challenges. In contrast, Brazil, which returned to democracy in 1985 after decades of dictatorship, produced considerably less analysis of the period of repression in its graphic narratives. Because of El Eternauta, graphic narrative became a major platform for the country's cultural redemocratization. Today its story, set in motion by an extraterrestrial invasion of Buenos Aires, is read as a parable foretelling the "invasion" of Argentine society by a murderous tyranny. After Oesterheld was "disappeared" under the military dictatorship, El Eternauta became one of the most important cultural texts of turbulent mid-twentieth-century Argentina. Argentine graphic narrative emerged in the 1980s, awakened by Hector Oesterheld's groundbreaking 1950s serial El Eternauta. El Eternauta, Daytripper, and Beyond examines the graphic narrative tradition in the two South American countries that have produced the medium's most significant and copious output.
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