This first issue in a twelve-issue arc reimagines Super Duper Ham and his place in the city of Mammapolis. 15 pages, B&W. The comic can be read in its entirety here.
This first drawing is from cover of Super Duper Ham: Day One. It’s based on one of the first drawings I made of the character, but this one has a lot more rendering to it. Back when I made that comic, I was working full-time, and trying to indulge in my social life as a new New Yorker, so it took me about three years to finish its 56 pages. I began to rethink the look of the character during that time, but I was determined to finish what I started.
In Day One, I wanted him to be a mix of Charlie Chaplin and Max Fleischer’s Superman. All his expression was in his eyes, which had a payoff in the end when the character has a moment of revelation. This second drawing is one I made soon after I finished drawing Day One. One thought I had was to explore the evolution of his costume. Another was to see what I could do to give the guy a mouth. I ended up using this image on the cover of Sketches and Streams, a collection of the comics I’ve made so far.
Robert and Jeffrey are husbands and partners. The two occult detectives work out of their Brooklyn Apartment specializing in murders, kidnappings, missing persons and transformations. The two met as analysts at The Spiral Group, a global espionage agency, and maintain various networks and databases. On or off the grid, natural or supernatural, Robert and Jeffrey can find anyone, even if their only option is to follow their noses.
The two bearded and bellied men dress like urban lumberjacks. Most think that the name of their company, The Werebear Detective Agency, is simply clever, but Robert owns property in rural Maryland where he and Jeffrey stay, once a month, when the moon is at its fullest.
This comic book series will explore the circumstances surrounding various humans’ ability to change into animals, highlighting the differences between the inherited, the cursed, the infected and the enabled. And through these stories, Robert and Jeffrey’s own history will be revealed.
Mars is a giant living organism that spawns billions of smaller organisms, Martians. They are all connected via a telepathic network, and the Martians are deployed to Earth to observe life on the planet. Visual information flowing over the network from the Martians to Mars and back to other Martians sustains them all.
But when a Martian is captured and cutoff from the network, it begins to experience alien sensations: hunger, loneliness and despair. Abandoned by its kind, the Martian chooses to experience the human condition in the form of a young woman named Martia.
Red rubber feathers and red rubber fur cover red rubber skin that covers red rubber muscles that are attached to red rubber bones. Oops creates this winged monkey as a prototype to test a mind-broadcasting machine that will allow Fernando, Awesome and Oops to remotely control their own individual rubber avatars.
The Red Rubber Monkey cannot be pierced, torn or broken. At most it could be melted. It cannot stretch on its own, but it can be stretched. And while the avatar cannot fly, its wings do allow it to glide, as well as enable it to leap higher and further than it could otherwise.
Stewart Cameron uses her Ninjanzee, robotic ninja chimpanzees, to steal state-the-art tech from around the world.
When directed, these robots are capable of deadly force. Their blades, able to slice through almost anything, swivel and retract into housing in the robot’s forearms. The Ninjanzee’s design is based on Fernando’s spy-suit, and utilizes Oops’ noise-dampener technology.