Howdy, amigos! It’s been a little while since I added new stuff to the Amoeba Adventures online archive, but now two more blasts from the past are available as FREE PDF downloads right here.
2020 marks the 30th anniversary of my small press seriesAmoeba Adventures, and here are two of the more unique publications from my ’90s comics work, digitally resurrected for this bold new age we live in:
Chiaroscurocollects quite possibly the strangest comics I ever published, from the pages of the alternative weekly newspaper (they were once a thing!) Oxford Town that I worked at. I was allowed to do pretty much anything I wanted, so for 6 months or so I drew a comic about whatever I felt like that week. Included are the adventures of Lil’ Kafka, the horror of the shivering walnuts, the return of Jip, the Notional Squad, Bob The Rabbit, President James Buchanan and much more. Some of these strips still remain among my favourite comics I’ve ever done. Here, read it for yourself.
Completely at the opposite end of the comics spectrum is Rambunny: Unacceptable Losses #1, a one-shot solo adventure for the Amoeba Adventures action hero. A man from Rambunny’s past returns with a tempting offer, launching Rambunny back into a dark world he thought he’d left behind. Action, adventure, and explosions galore, with art by Ron Gravelle and a story by me in full Frank Miller/’80s action movie mode. It also features a bruising battle in a bathroom WAY before Tom Cruise did it in Mission Impossible: Fallout. Read it here!
I love comic books, but I also love comic strips. And man, I miss them.
The ritual of paging through a newspaper and basking in the glory of an entire page or two of comic strips has been something I loved most of my life. One of the first things I remember reading were battered paperbacks of Charles Schulz’s “Peanuts,” the Citizen Kane of strips. I remember clipping out old strips from The Union newspaper when I was growing up and making makeshift albums of them.
One of my first jobs in real life was as a newspaper boy delivering that same Union, and so I got to read “Peanuts” and the rest before anybody else. Years later at a small town paper in Mississippi in my first job after college, one of my wage-slave gigs in a less computerised era was pasting up the newspaper’s comics pages by hand, clipping them out from the glossy sheets the syndicates sent and gluing “Shoe”, “Luann” and the like onto the page. Finally, I was making the comic strip pages!
Comic books are huge intellectual property now and fodder for countless blockbuster movies and TV shows, but the comic strip feels somewhat cast aside, quaint, an echo of the past. Yet at its peak through most of the 20th century, the newspaper comic strip was probably far more influential on popular culture than comic books, an eclectic mix of cornball, adventure and gags that showcased how diverse the medium could be.
Newspapers have been shrinking for years now and the comics page is one of the casualties. A lot of strips that have been going for a long time have ended this year, and it’s hard not to imagine even more will follow as papers fold and comic sections, where there are any left, shrink further.
The immortal “Calvin and Hobbes,” “Bloom County” and “The Far Side” in the 1980s and 1990s might’ve been the last big gasps of the comic strip as pop culture giants. The death of Charles Schulz in 2000 seemed the end of more than just his era. It was a portent of the end of comics pages as a cultural touchstone.
When I moved to New Zealand in 2006, it was a bummer to find out that the country’s biggest newspaper didn’t have a comics page at all. Pal Bob assures me that wasn’t always the case, and NZ newspapers once had robust comics sections too (including great Kiwi comic strips like the classic “Footrot Flats” by Murray Ball). But by the time I arrived down here, nuthin’. Somehow, a newspaper feels like it’s missing something irreplaceable without a page full of goofy comic strips.
And yeah, I’ll admit, many comic strips have been pretty mediocre or gone on for literally decades longer than they should’ve. It’s hard to believe relics like “Andy Capp” or “Snuffy Smith” (mining that ever-topical hillbilly humour 90 years past its peak) are still going. When I do see the comic strip pages in America on visits now, they’re a pretty dusty lot. Given the ageing demographics of print media and their fetish for snorefests like “Mark Trail” and “The Lockhorns”, fresh new talent finds it hard to break in. There are a lot of “zombie comic strips” out there that take up the space that new talent might have.
(As an example of comic strip inertia, that newspaper I worked for in Mississippi back in the mid-1990s still ran “Bringing Up Father,” surely one of the last papers anywhere to run a strip that began in 1913 and finally keeled over in 2000.)
The comic art form hasn’t gone anywhere of course, and endless legions of great, diverse creative folk are doing amazing comics online and elsewhere. But there’s a part of me that will always miss the humble newspaper comics page, where Garfield, Snoopy, Doonesbury and many more leapt out from the ink every single day.
The death of Chadwick Boseman at just 43 from cancer hurts, coming as it does in a year when there’s been so much hurt already.
Just over two years ago, he was the star of the biggest superhero movie ever at the time, the first nominated for Best Picture. But he was eye-catching and charismatic in everything he appeared in during his too-short starring film career, which spanned just seven years. To most of the world’s shock and dismay, we learned that he was fighting colon cancer for much of the time he was starring in some of the biggest movies on the planet. Unimaginable.
He’s going to always be remembered for Black Panther, but he starred in several wonderful films, carving out a bit of a niche career as a chameleon portraying famous inspirational Black figures. Legendary baseball star Jackie Robinson. Soul star James Brown. The first Black U.S. Supreme Court Justice. He was very different, dazzling in each role and was much more than just T’Challa, the Black Panther. He leaves us these stories.
I always loved the Black Panther as a kid. He was mysterious and cool, and back in the 1980s, he didn’t actually appear all that often in comics. And Chadwick Boseman brought him to life wonderfully on screen, capturing the Shakespearean tumult of a Prince-turned-King wrestling with his own power. I would’ve loved to see what he did in future films.
Boseman’s pivotal place in Black film history is not my story to tell. But his starring as the Black Panther – telling millions of Black kids and adults that yes, a superhero could look like anybody – changed the parameters. He made the world bigger, and broader.
Some of us mourn actors and musicians because we see the storytellers they are, and when one of them dies suddenly or too young all you can see are the stories yet untold. Chadwick Boseman should’ve had a career stretching for decades, and it’s unfair. The last sudden film star death that hit me like this was Philip Seymour Hoffman, and I felt much the same thing – I wanted to see more. I felt cheated.
Two scenes from Boseman’s turn as the Black Panther keep ringing in my head, neither one of them your typical superhero punch-ups. One is the quiet moment at the very end of Black Panther between T’Challa and his vanquished foe Killmonger, which achieves a kind of graceful sadness. The other came at the very end of Captain America: Civil War, where T’Challa confronts Baron Zemo, the villain who assassinated his father.
Both scenes are notable for the calm centeredness of Boseman. At the end of Civil War, T’Challa decides not to kill the man he’s been hunting the entire film, and stops him from killing himself.
He tells Zemo, “The living are not done with you yet.” Yes, it’s a line by a superhero to a murderous villain, yet somehow it echoes to me so much as I think about Chadwick Boseman today.
He is free from pain now, but the living were not done with you yet.
I’ve written before about my love for the weird stuff Marvel Comics put out in the early 1970s. Perhaps one of their strangest gambles was a series that could only have risen from the grave in the age of The Exorcist and The Omen. Let’s give it up for … The Son Of Satan!
After years of comics being constrained by the Comics Code Authority, the reins were loosened a bit early in the 1970s, allowing previously taboo subjects. Marvel Comics went BIG on the horror in the early ‘70s, and as a result dug up some of its best work. Dracula, Frankenstein’s monster, a living mummy, a Man-Wolf, a werewolf, a zombie, hell, even a golem and a Manphibian … They’d throw anything at the wall of the horror superheroes boom to see if it stuck.
So why not the Son of the Dark Lord himself? Hilariously, according to a feature in Back Issue magazine #21, Stan Lee actually proposed Marvel do a comic book starring Satan himself – in other words, DC/Vertigo’s Lucifer decades ahead of its time. Cooler heads prevailed and instead a feature called Son of Satan debuted in a 1973 issue of Marvel Spotlight, starring Damien Hellstrom– also confusingly sometimes called “Hellstorm” – the son of the devil and a mortal woman torn between two worlds.
You’ve got to admire the chutzpah of calling a comic book Son of Satan – Fredric Wertham surely would be turning in his grave. I love the title, even when the book itself was rather schizophrenic – during his 20 or so issue solo run in Marvel Spotlight and then his own short-lived comic, Damien Hellstrom’s adventures fighting both evil and his own evil side ran all over the place and went through many creators (the best being the late writer Steve Gerber). At one point, he even got into a fight with Adam – yes, that Adam. Like many Marvel books of the era, Son of Satan constantly changed course to try and win readers. He was clad in circus-devil yellow and red and carried a pitchfork, teamed up with Human Torch and Ghost Rider and kept on with all his daddy issues.
He did get flak – at least one letter writer accused the creators of being “tools” of Satan. Artist Herb Trimpe told Back Issue he was “uncomfortable” with “evil being the star of the book.” Years later, ol’ Son Of was even retconned so he wasn’t actually the son of that Satan, but of a more generic demon who sometimes called himself Satan. Son Of Someone Who Might Be Satan really isn’t as catchy.
The original ‘70s run was all nicely collected in the Son of Satan Classic paperback. Later, Damien popped up in Marvel’s clearing-house non-team book The Defenders for some fun stories, and kept bopping around ever since. You can’t keep a good devil down.
Hellstorm got grim and gritty in the 1990s, really leaned into the whole Satanic thing and started looking like Rob Zombie and gave up the superhero spandex in a 1990s well-received gory reboot by Warren Ellis. He’s often been an outright villain in more recent appearances. He’s even finally getting some kind of adaptation in a TV series (with a fairly underwhelming first trailer, and this time he’s spelled Helstrom!).
Admittedly, the entire concept is better geared towards dark horror than heroics, but I still kind of dig the era when a guy calling himself the Son of Satan ran around in a superhero cape. “Hellstrom” or “Hellstorm” or whatever is a decent enough name, but to be honest, if you’re the son of the devil, you need to own that.
Son Of Satan is an intriguing little throwback to an era when such a character could be featured in what were ostensibly kid’s comics without major protests. So you know, hail Satan — he might just have cleared the way for much darker and grimmer comics yet to come.
* The return of Prometheus the Protoplasm in the first NEW Amoeba Adventures story since 1998! It’s been a real trip to return to drawing comics again after wayyyyyy too long, and hopefully you enjoy!
*Troy Hickmanpens a long-lost untold story of the Flaming Flag during World War II!
* Not one but rare two team-up stories with Jason Marcy’s brawling bruiser Powerwus!
* Rare Amoeba Adventures stories from fanzines, The Rap Sheet, and special publications!
* Excerpts from the legendary Small Press Syndicate jam comic crossover!
* The never-before-published, embarrassingly primitive very first Prometheus two comic books ever drawn!
* A look into the vaults at scripts and art for several stories that never quite made it to print, including a team-up with the late Sam Gafford, an Amoeba Adventures Annual with Lynn Allen, and much more!
* A gallery of rare art by Max Ink!
* A complete cover gallery of vintage Amoeba Adventures publications!
It’s only a mere $2.00 US / $3 NZ to get the whole package downloaded direct to the tablet/laptop/Commodore 64 of your choice, plus, as a bonus, I’ll also throw in the digital reprint of the 1995 Amoeba Adventures 5th Anniversary Special, a 36-page look back at the first 5 years of the All-Spongy Squadron featuring profiles, essays and pin-ups galore. That’s a grand total of more than 160 pages of material for less than the cost of a single new comic book.
(Sorry, at the moment it’s digital-only for me, but maybe once the world calms down a little I’ll do a limited edition print version.)
Payment accepted via Paypal or hit me up via message if you need other options.
And don’t forget, every single issue of Amoeba Adventures is already available for a free download over on this page – so you have no excuse!
Coming in August, the grand conclusion of my 30 years of Amoeba Adventures celebration – the Amoeba Archive, a digital PDF book featuring 130 pages of rare stuff, old stuff, never-seen stuff and even a brand new Amoeba Adventures story for the first time since (gulp) 1998!
Great scott! The final three issues of Amoeba Adventures written by myself and drawn by Max Ink and a cast of thousands are now online as free PDF downloads, meaning the entire story of Prometheus the Protoplasm is on the internets for you to read!
All 27 issues of the series are back just in time for the 30th anniversary of Amoeba Adventures #1! Even if you have the original comics these are worth a read as I’ve added more than 150 pages (urk) of bonus art, notes, interviews and more to the comics!
Head on over to the Amoeba Adventures subpage and download with wild abandon! There’s still a few more publications to be uploaded, and stay tuned soon for some pretty cool news about the upcoming Amoeba Adventures Archive digital download!
This lot includes the epic Amoeba Adventures #10, the conclusion to the “Details of Design” storyline that changes everything for the All-Spongy Squadron; #14, the solo writing and drawing debut of Max Ink in a very special tale focusing on domestic violence; and the slam-bang gigantic Amoeba Adventures #12, at nearly 80 pages the biggest comic I ever published and one that nearly killed me! It features solo stories for Rambunny, Spif, Ninja Ant, Herr Heinous and more, the secret 50-year history of Prometheus by Troy Hickman, Prometheus meets Matt Feazell’s Cynicalman, the scoop on the legendary small-press gathering at the 1993 Chicago ComicCon, and a jam back cover with 27 small press creators. Stories and art by guest contributors Max Ink, John Hurley, Doug Lumley, Tony Lorenz, Matt Feazell, Lynn Allen, Jason Marcy, Sam Gafford, J. Kevin Carrier and many more.
This means that the first 23 issues of the entire series are now available free online. As always, most issues feature rare sketches, notes and guest artwork from the secret Amoeba Archives, located many kilometres deep in a secret vault off the coast of Tasmania.
Thanks to those who’ve had kind things to say in various places online about the old comics, it’s been a genuine pleasure rediscovering them after many years and glad to see folks enjoying them again.
My favourite superhero team will always be the Justice Society of America. The first superhero team in comics, the JSA made its debut 80 years ago this year, with the original Flash, Atom, Hawkman, Dr. Fate, Green Lantern and many more.
One of their lesser-known members always intrigued me – the rather boastfully named Mr. Terrific, one of the most quixotic of golden age superheroes. He barely appeared with the JSA in their original ‘40s incarnation, and mostly lived out his life as a back-up feature in the Wonder Woman-headlining Sensation Comics.
Mr. Terrific’s back story, such as it was, was laid out in Sensation Comics #1 – He’s Terry Sloane, first introduced as a “child marvel” who’ll be “smarter than Einstein when he grows up.” Basically, he’s good at everything, without being any kind of mutant or spaceman – the kind of guy who probably annoys the hell out of everybody around him, frankly. As he grows up, he’s a genius at business, sport and love. He gets so bored, he decides to kill himself. But instead of topping himself, he saves a suicidal woman jumping off a bridge and this gives him the spark to carry on, fighting crime as the masked “Mr. Terrific.”
To be honest, it’s complete nonsense of an origin, isn’t it? It’s not even having a bat fly through your window to inspire you. When roughly a dozen new superheroes were appearing a week in the 1940s, you worked with what you could, I guess. Mr. Terrific clad himself in a striking green and red costume with “Fair Play” emblazoned across his chest in huge letters, and the peculiar vehemence of his costume is probably why he’s remembered at all.
Nevertheless, I kind of like the goofy lug, who appeared in Sensation Comics until the late 1940s, then popped up occasionally in the 1960s. He was rather randomly killed off after years of obscurity in the pages of Justice League of America in 1979, and that was it for Mr. T.
I don’t think there was probably ever a great Golden Age Mr. Terrific story. You’ve read one, you read them all. He was just kind of there, among dozens and dozens of other do-gooders living out very repetitive, yet somehow fun adventures. Yet the plucky charm of writing out “Fair Play” on your chest and deciding to fight crime because the only other choice is killing yourself out of sheer boredom sticks with me. Maybe Mr. Terrific was the first superhero to really struggle with mental health, although you’d never really guess that from his adventures.
In what I’d call his greatest moment, even if it was after he was dead, Mr. Terrific made a wonderful little cameo in the 1990s in James Robinson’s fantastic series Starman #37. In it, “Starman” Jack Knight imagines himself dining with his dead brother and several other dead superheroes, including Mr. Terrific, who gets a brief page or so monologue about himself and his motto. In a few panels, Robinson somehow gives Mr. Terrific the real motivation and a wee bit of pathos that he’d been lacking for his entire career.
A new Mr. Terrific was introduced in the 1990s as an African-American inventor with a tragic past, and was a very cool addition to the Justice Society and other comics. He’s probably been in way more good stories than his inspiration, but one thing I do like is that “Fair Play” is still prominently displayed on his costume all the same.
In a world teeming with selfish politicians and preening social influencers and a real paucity of actual superheroes, the idea of sticking your head up and saying, “Hey – Fair Play! Let’s give everyone a decent go, shall we?” Well, that feels kind of heroic.
I’ve been collecting comics for something approaching 40 years now (argh), yet there’s always new stuff to surprise me. Lately, I find myself besotted with, possibly a little in love with, one of the most maligned genres of comics – the romance comic book.
Romance comics haven’t been cool for decades. Yet for a comics fan looking for something novel to distract themselves during these plague days, there’s something inescapably alluring about the kitsch-soaked, tear-stained pathos of the romance comic.
And romance comics were bloody HUGE back in the day. According to Love On The Racks, a very entertaining overview of the genre by Michelle Nolan, more than 6000 titles were published between 1947 to 1977. Then they basically vanished, gone like the westerns and war comics that also thrived back then.
To be fair – these comics offer up a fair bit of cringeworthy sexism, the people mostly were white and protestant, and the only sexuality is heterosexuality. Yet in between the cliches and cuddles, there’s a lot of subtle statements on life in America in the last century. They’re theatrical pageants for a world that never actually existed. They’re history writ broad in four-colours and cartoon tears.
A lot of the romance comics were just dire, cookie-cutter dramas. But for me, many of the most enjoyable romance comics are the ones where women take their own agency and slap back at the stereotypes. I admit to being particularly partial for the romance comics of the swingin’ 70s, where feminists, hippies and biker dudes sit a bit uneasily with the traditional tropes of the genre.
I’ve added several romance comic collections to the ol’ library in recent years, each of which is well worth seeking out to take a dip in the waters of this almost-forgotten genre:
Young Romance was the very first major romance comic, by the legendary Jack Kirby and Joe Simon. The best of its 1940s-1950s run was collected in two nice thick tomes by Fantagraphics a while back. While Kirby’s art is rawer, looser than it later became, “Young Romance” holds up very well, mainly because the stories are surprisingly edgy and less sappy than many romance comics became.
“Marvel Romance” and the long out of print 1970s DC Comics collection “Heart Throbs” collect the best of each of those publishers’ romance comics from titles like My Love, Secret Heart, Young Romance and more. They’re less eccentric than some of the smaller publishers, but these comics often featured absolutely stunning art by the likes of John Romita, Sr.
“Return To Romance: The Strange Love Stories of Ogden Whitney” is an utter hoot. One of the great off-the-wall comics in history is Odgen Whitney and Richard Hughes’s Herbie, the surreal adventures of an obese young boy with a magic lollipop. The rare romance comics by the same creative team were recently released in a book and they are far out, romance comics as if they were done by John Waters and David Lynch working together. They zig when you expect them to zag and they’re always highlighted by Whitney’s dazzling, crisp and expressive cartooning.
Two other excellent post-2000 compendiums of random romance comics are“Romance Without Tears” by Fantagraphics and“Agonizing Love”by Harper Collins, both of which present a great assortment of stories and commentary on the era.
Weird Love was an utterly fantastic reprint series by Yoe Books that ran for 24 issues up until last year, collecting the strangest love stories from the medium’s history – it was one of the kookiest, best comics in years, featuring at least TWO separate stories about women falling in agonising love with circus clowns.
I won’t say that romance comics are the creative peak of the medium. Yet perhaps more than any other subgenre of comics, superheroes included, they’re a time capsule of the era they were created in, and if you don’t mind how dated they might be from a 2020 perspective, they’re still often a swingin’ good time.