Amazing Heroes #125 Table of Contents
Dublin Core
Title
Amazing Heroes #125 Table of Contents
Subject
Periodical
Comic strips
Comic strips
Description
Issue number 125 of Amazing Heroes fanzine focuses on Frank Cirocco, a prominent figure in the underground comix movement, which had a considerable amount of influence on the comics industry between the 1960s and the 1980s. At the top left corner of the table of contents page, the issue number, 125, and the date of publication, Sept. 15, are listed below the heading. The table of contents features “Imposing Marshal Law” by Frank Plowright (page 23), “Sable Starks The Small Screen,” one of the articles featured on the cover of the fanzine, written by Brian Nelson (page 31), and “The Return of Frank Cirocco” by Kevin Dooley (page 40), another one of the articles highlighted on the fanzine’s cover. Below, under the title “Departments,” the fanzine lists “Editorial” (page 4).. “Newsline” (page 5), “Coming Distractions” (page 11), “Video View” (page 37), “Doc’s Bookshelf” (page 55), “Comics in Review” (page 65), “Amazing Readers” (page 72), “Everett True” (page 78), and “Don Rosa’s Information Center” (page 81).
Separating the two headings is a black and white drawing of a superhero, drawn slightly over the edges of the panel, hovering in the sky while facing down a distant aircraft. Underground comix, featured heavily in this issue, were a counterculture movement that strongly influenced the world of comics in the 1960s through the 1980s, though they have historically not received much attention in academic fields. Counterculture itself can be viewed as an attempt to build alternative cultural movements to counter more mainstream movements. However, underground comix are sometimes described as epitomizing the 1960s, which is when the term “comix” was first applied to these publications. These publications were often less monitored and censored, as they were largely self-published and not on newsstands, and thus contained and had roots to more sexual content. In these comix, sex was implied to occur off the panel, and some feminist and pro-LGBTQ materials began to be published as the movement came to a stop. However, the underground comix movement, with a few exceptions, was largely known to be misogynistic, particularly in its portrayal of violence against women. Overall, the underground, less corporate nature of the comix were not necessarily subject to the Comics Code Authority, and thus experienced more freedom in exploring topics not only involving sexuality but including drugs and anti-capitalist sentiments. Many of these influences came not from the typical locations, but came largely from the San Francisco Bay area of California, along with the East Village of Manhattan and Austin, Texas. Additionally, some consider underground comix to have been inspired by MAD magazine and college satire magazines in the way that the counterculture magazines made heavy critiques of American culture. The nature of the comix’s distribution also encouraged freelance art, and as a result, the underground comix movement allowed freelance artists to become more common in the industry as a whole, though many freelance artists struggled to find well-paying work during the time. Frank Cirocco was highly prominent in the field of underground comix, and after his work with Continuity Studios and Zero Horizon Graphics, he went on to work with Marvel. While underground comix are cited have met an untimely end through literary suppression of the content, the movement still has prominent figures and continues on to influence the comic book and graphic novel industry, including Marvel Graphic novels, which contain original stories, not simple compilations of stories that were already in print, such as Frank Cirocco.
Separating the two headings is a black and white drawing of a superhero, drawn slightly over the edges of the panel, hovering in the sky while facing down a distant aircraft. Underground comix, featured heavily in this issue, were a counterculture movement that strongly influenced the world of comics in the 1960s through the 1980s, though they have historically not received much attention in academic fields. Counterculture itself can be viewed as an attempt to build alternative cultural movements to counter more mainstream movements. However, underground comix are sometimes described as epitomizing the 1960s, which is when the term “comix” was first applied to these publications. These publications were often less monitored and censored, as they were largely self-published and not on newsstands, and thus contained and had roots to more sexual content. In these comix, sex was implied to occur off the panel, and some feminist and pro-LGBTQ materials began to be published as the movement came to a stop. However, the underground comix movement, with a few exceptions, was largely known to be misogynistic, particularly in its portrayal of violence against women. Overall, the underground, less corporate nature of the comix were not necessarily subject to the Comics Code Authority, and thus experienced more freedom in exploring topics not only involving sexuality but including drugs and anti-capitalist sentiments. Many of these influences came not from the typical locations, but came largely from the San Francisco Bay area of California, along with the East Village of Manhattan and Austin, Texas. Additionally, some consider underground comix to have been inspired by MAD magazine and college satire magazines in the way that the counterculture magazines made heavy critiques of American culture. The nature of the comix’s distribution also encouraged freelance art, and as a result, the underground comix movement allowed freelance artists to become more common in the industry as a whole, though many freelance artists struggled to find well-paying work during the time. Frank Cirocco was highly prominent in the field of underground comix, and after his work with Continuity Studios and Zero Horizon Graphics, he went on to work with Marvel. While underground comix are cited have met an untimely end through literary suppression of the content, the movement still has prominent figures and continues on to influence the comic book and graphic novel industry, including Marvel Graphic novels, which contain original stories, not simple compilations of stories that were already in print, such as Frank Cirocco.
Creator
Managing Editor: Kevin Dooley
Art Director: Doug Erb
Executive Director: Kim Thompson
News Correspondents: Dave Hall and Donald K. Niven
Production Assistants: Audu Paden and Coco Shinomiya
Typesetting: L.M. Gorell and Arlene Easter
Circulation: Rachel Enger
Art Director: Doug Erb
Executive Director: Kim Thompson
News Correspondents: Dave Hall and Donald K. Niven
Production Assistants: Audu Paden and Coco Shinomiya
Typesetting: L.M. Gorell and Arlene Easter
Circulation: Rachel Enger
Source
MSU Special Collection Comic Art, PN6725.A47
Publisher
Fantagraphics Books, Inc.
Date
September 15, 1987
Contributor
Brooke Bloomfield
Rights
Rights Restrictions Apply
Relation
Companion to Amazing Heroes 125 Cover, http://chambl91.msu.domains/CriticalFanscape/admin/items/show/id/86
Companion to Amazing Heroes 125 Representative, http://chambl91.msu.domains/CriticalFanscape/admin/items/show/88
Companion to Amazing Heroes 125 Representative, http://chambl91.msu.domains/CriticalFanscape/admin/items/show/88
Format
6-5/8 inches wide by 10-1/4 inches, black and white
Language
English
Type
Periodical, .tif
Coverage
1981-1992
Still Image Item Type Metadata
Original Format
Comic book
Physical Dimensions
6-5/8 inches wide by 10-1/4 inches
Files
Collection
Citation
Managing Editor: Kevin Dooley
Art Director: Doug Erb
Executive Director: Kim Thompson
News Correspondents: Dave Hall and Donald K. Niven
Production Assistants: Audu Paden and Coco Shinomiya
Typesetting: L.M. Gorell and Arlene Easter
Circulation: Rachel Enger, “Amazing Heroes #125 Table of Contents,” Critical Fanscape, accessed October 17, 2026, https://chambl91.msu.domains/CriticalFanscape/items/show/87.