The Eternaut was a comic strip by Héctor Germán Oesterheld and Francisco Solano López between 1957 and 1959. It was published by Editorial Frontera. Frontera went bankrupt shortly afterwards, Solano López left for Europe, and Oesterheld sold the publication rights of the comic to pay debts. Oesterheld made a reboot of the comic with Alberto Breccia, The Eternaut 1969, which was canceled by the publisher but became a hit in Europe. After several successive sales, the rights for The Eternaut were acquired by Ediciones Record. The first story was republished, and became a huge success. This was followed by a sequel, that started being published in the anthology comic Libro de Oro Skorpio #2, with the same creative team as the original version.[1] Solano López had returned from Europe a short time before, seeking to retrieve his original artworks of the series.[2] By this time, amid the Cold War, Oesterheld had joined the Montoneros guerrilla, which sought to establish a communist regime in the country akin to Fidel Castro's Cuba, and who were opposed by the National Reorganization Process, a military regime that preferred to be aligned with the United States in the international conflict. As a result, Oesterheld had become clandestine, staying at hidden locations and delivering the plots for the comic in surreptitious ways. Solano López was not comfortable with the situation, as he felt that the story was being used to deliver open left-wing propaganda, but he could never meet Oesterheld in person to discuss about it.[1] He said that "All the work on the second part was done clandestinely. And I protested, because he went too far in terms of militant and subversive content. I had no sympathy for the military or their system, but the message of the Montoneros was not to my liking either. And the character was distorted. I did not feel it. It bothered me to do it, because the character, according to the script, moved, did and said things that did not fit."[3]
The final episode was released in April 1978. Oesterheld was the victim of an enforced disappearance a year before that, in the city of La Plata. According to reports from survivors, he was detained at El Vesubio.[3] The story concluded its publication without problems, but Solano López has doubts over the real authorship of the last plots. In addition to the circumstances mentioned, the plots were typewritten instead of handwritten as they used to be, and the sequence with the flying people felt even more out-of-character than before.[4]