ticked this baby off the want list by finally scoring a copy, after
years of seeing it advertised in the back of endless Warren mags. It's a
sort of fotonovel / fumetti by Bruce Jones, one of comics' consistently
great writers, with what seems to be an uncredited assist from Richard
Corben, or in fact some of his assistants.
Like a lot of Byron Preiss' output, Amberstar isn't
quite a comic book, nor quite a graphic novel, but one of those
fascinating near misses the Bronze Age was full of, and which I'm a
total sucker for.
Each 'panel' consists of a black & white photo, overlayed in colour at Corben's studio, in a similiar way to his Doomscult strip, seen in Heavy Metal ( and on this blog! ), which also starred one Bruce Jones. Amberstar isn't
wholly successful, looking in places like a colourized movie, and some
of the spacescapes cry out for Corben's specific hand in the colouring,
but these are minor quibbles really, and this is a space opera like no
The hero of Amberstar
is space rogue Neville Scott, an increasingly bewildered Han Solo-alike
who finds himself involved in a quest with no apparent meaning or
by a recurring dream of a man trudging through a snowdrift, Neville
escapes an alien invasion on the planet he's currently 'resting' on, by
stealing back his impounded spaceship ( the Amberstar of the title )
with the help of a mute lizardman he immediately names 'Ears'.
Amberstar mysteriously no longer responds to Scott's controls, and
lands he and 'Ears' on a fairytale world where, in short order, they
meet wood nymph / witch Lehan, her centaur friend Charn...
And a big f**k off Cyclops:
Escaping that problem, our mismatched heroes navigate through a couple of Star Wars style dogfights, inside Jones' meticulously designed miniatures:
Indulge in a trippy, '60's style sex scene:
And nearly fall into a sun:
Amberstar, still not obeying Scott's commands, lands them on a
deserted, smog covered world where they find an exact duplicate of
And a bunch of floating, bug-eyed tentacle thingies clearly designed ( or at least inspired ) by Corben:
just escaping in the nick of time yet again, the gang reach their final
stop. A planet full of toy dinosaurs created by intergalactic big-game
hunter Henrich who, like everybody else, is not exactly what he first
appears to be.
final revelation as to who the man in the snow is, what's actually
going on and what everybody's part in it is seems at first to be a bit
of a cop-out, and you suspect Jones thought up the planets he wanted
Scott to visit first, then tried to come up with a reason why.
But that reason actually gets cleverer the more you think about it, and you certainly won't see it coming.
Jones himself has said he wasn't happy with the way Amberstar turned
out, wishing he'd stuck to the original black & white
photography rather than colourization ( in fact, he tried a noir fumetti
after this, that sadly didn't find a publisher ), but I absolutely love
this book. Even if you don't like the visual experimentation ( and why
wouldn't you? ) Jones is such a good writer you can't help but be sucked
in by the mystery. It's a noble failure, and I can't get enough of
And remember, this wasn't assembled in five minutes on a
laptop, this took months of painstaking paste-up work by a bunch of
lunatics willing to sit there for hours with scalpel and Pritt-Stik. Amberstar is a little bit Star Trek fotonovel, a little bit La Jetee, and a whole lotta fun. If you see a copy at a con, grab one. This is a trip worth taking.
Gedeon Plexus was a futuristic detective that appeared intermittently in Epic Illustrated, and in both art style and tone, actually felt like he should've been working the other side of the street, over in Heavy Metal.
In an unspecified future, what's left of the world's population live in a giant underground complex, while nuclear war rages up on the surface. In the many levels of the city, Plexus solves bizarre crimes with the aid of his flying bicycle and clothes averse chief / girlfriend.
All the familair noir tropes are here, with treacherous broads, amoral heroes, crosses and double crosses in abundance, and it's a great little strip that should've had more of a run.
The art style is decidely european, and the tone is absolutely Heavy Metal as I say, so not sure why Gedeon didn't appear there. In fact creator Zoran Vanjaka did apparently work on the HM movie, and you can easily see Plexus teaming up with Harry Canyon.
Maybe it was a decided effort by editor Archie Goodwin to move away from the Marvel house style, or maybe he just really liked detective strips. Whatever, Gedeon was always a good read whenever he popped up in the pages of Epic. Here he is, getting involved with dames again. That's not gonna end well.
And as a postscript to yesterday's Jones Touch post, and the influence of Vaughn Bode on some of those pieces, here's a dig in the ribs from Vaughn to Jeff, as they discuss their differing views on the permanence of art...
All I know about these strips is that they appeared in Swank Magazine in 1972. A few of them were reprinted in Pacific's Ravens & Rainbows, but the original colours here are much better.
They're pretty much the most gorgeous Jeff Jones pages ever, which is really saying something.
Interesting when you spot the influences from both Berni Wrightson ( in terms of lighting ) and Vaughn Bode ( in terms of themes ) here.
Jeff, of course, shared Studio space with Berni, and also shared an apartment with Vaughn at different points in his life, which gives these already wonderful pieces an added piquancy. True art is rarely created in a vacuum.
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