Strange Academy #13 - Marvel Comics

STRANGE ACADEMY No. 13, January 2022

Split between “a tour of a famous NOLA graveyard” and Emily Bright’s own personal field trip deep inside the Sorcerer Supreme’s darkest dungeon, Issue Thirteen of “Strange Academy” is definitely a two-sided affair which contains plenty of answers to several previously unsolved mysteries. But whilst such sub-plots as the secret origin of Zoe Laveau and the identity of the man behind a certain cellar door are enthrallingly explored, it does arguably cause this twenty-page periodical to lack any sort of action whatsoever; “Soooooo, what kind of trouble have you all been up to tonight?”

Fortunately however, so dialogue-driven a publication doesn’t mean that Skottie Young hasn’t penned a truly mesmerising narrative for this comic, with the super snake-filled story as to how Laveau became one of the walking dead proving to be a highlight of the book. Desperate to please both her parents, as well as live up to the high expectations of her magical heritage, it is quite easy to see why the young girl would fall prey to the deceitful ‘drugs’ of Gaslamp in order to develop her own powers, and why later on her mother would turn to so extreme a solution as zombifying her dead daughter just so the woman could bring her back from beyond the grave.

Likewise, there’s a satisfying sense of resolution to Bright’s storyline concerning the Imperator and the disconcertingly dismal fate which Doctor Strange has seemingly ordained for the leader of the Empirikul. Initially, it appears certain that the American author will disappointingly fall into the usual trap of depicting the well-meaning child stupidly releasing the deadly villain through her utter naivety. But splendidly, that simply isn’t the case with this tale, and instead Young provides a heart-warming outcome involving the Stone of Shackles in which debatably everyone comes away happy.

Of course, that doesn’t mean for a moment that this comic is just packed full of sickeningly sweet feel good moments, as Calvin Morse’s uncertain future at the school persistently lingers over the student throughout the entire comic. Bereft of any actual magic, and already late with his school presentation for Zelma Stanton, the orphan’s aggressive anger at his peers’ special abilities appears destined to make him a suitable puppet to manipulate by the sinister Gaslamp in a future instalment…

The regular cover art of "STRANGE ACADEMY" #13 by Humberto Ramos & Edgar Delgado

Strange Academy #12 - Marvel Comics

STRANGE ACADEMY No. 12, October 2021

As publication-long pulse pounding punch-ups go, Skottie Young’s script for Issue Twelve of “Strange Academy” certainly still manages to squeeze in a ton of exposition involving the evil machinations of Mister Misery, as well as just how Calvin Morse seemingly acquired his magical powers in the first place. In fact the American author also does a pretty good job of using the cataclysmic kerfuffle with Stephen Strange’s deadly creation to show just how united all the Academy’s enigmatic individuals have become now the ongoing series “second story arc” is finally brought “to a rip-roaring climax!!!”

Admittedly, most of the explanations occur via a somewhat lengthy flashback sequence at the start of the fight in which it’s revealed that having previously been eaten by the Master of the Mystic Arts, the “Thing in the Cellar” was still able to somehow escape and take the form of a leather jacket for the hapless Calvin to wear. But once this particular writing technique has done its ‘scene-setting’ the rest of the students’ development takes place during the actual frenzied fighting, as Mister Misery effectively tackles each character on a one-by-one basis; “You cannot simply take me off like the coat I pretended to be. If you could, you might have earned your place here and not be just the Trickster God’s joke!”

Perhaps the most noteworthy of these spotlights happens to the daughter of the famous demon S'ym, Dessy, who arguably demonstrates during her confrontation with the multi-eyed monster of pain that she is already a formidably powerful sorceress. Cleverly deducing that her opponent “feeds on the suffering of others”, the young Limbo imp produces a startlingly scary attack containing “all the suffering in existence” which ultimately overpowers Mister Misery and once again sees the defeated, black-hearted manifestation being eaten alive.

Just as impressive as this comic’s penmanship are Humberto Ramos’ layouts, which much have taken an absolute eternity to pencil considering just how many hundreds of eyes he had to sketch just for the ‘villain of the piece’ alone. Indeed, perhaps this twenty-page periodical’s sole disappointment only comes from the Mexican artist not being given much opportunity to depict Howard the Duck’s presence throughout the sense-shattering ‘set to’.

The regular cover art of "STRANGE ACADEMY" #12 by Humberto Ramos & Edgar Delgado

Strange Academy #11 - Marvel Comics

STRANGE ACADEMY No. 11, August 2021

Consisting of a “murder mystery at Strange Academy, and not the fun kind with the pretend roles”, Skottie Young’s storyline for this particular twenty-page periodical marvellously mixes up both deadly solemnity with a sudden healthy dose of surprising humour before the cold-hearted killer is finally revealed. Indeed, right up until Howard the Duck begins his lengthy interrogations, the Illinois-born author appears to have predominantly penned a disturbingly dark tale depicting every effort to resurrect an entirely-shattered Toth failing, despite the best efforts of Doctor Voodoo, the crystalline youth’s magical parents and even “a wizard in our world [who] lost his way and paid the price!”

Happily however, once the Duckworld detective arrives this “Whodunnit” momentarily stops taking itself quite so seriouslessly and instead initiates a series of black comedies focused upon the alibis of all the dead student’s friends; “Kid, save the theatrics for drama club. I need to know where you were last night after eleven pm.” Foremost of these has to be the feathered Private Investigator’s questioning of Calvin Morse, who seems suitably enthusiastic to “play along” with the duck’s demands by wanting to both make a phone call and have a lawyer present. But there’s also a good deal of fun to be had by Iric Brorson unsuccessfully trying to implicate his room-mate, Doyle Dormammu in the death too.

Equally as well done is Young masterfully shifting the comic’s plot back to its much more solemn side, courtesy of the slaughterer’s stooge unexpectedly discovering Toth’s heart whilst innocently turning out the contents of their jacket pocket. This revelation stops any giggles or guffaws amongst the audience stone dead, and sets the book up for a truly dramatic conclusion as Jericho Drumm discovers he’s facing an infinitely more dangerous foe than he initially imagined.    

Adding plenty of suspense, as well as some cheap laughs, to this publication’s proceedings are Humberto Ramos’ energetic layouts, which for most of the comic do a first-rate job of switching the atmosphere from despair, to farce, and then back again once “the thing in the cellar” has dropped its convincing disguise. Bizarrely though, this issue does disconcertingly contain the odd occasion, such as when the Mexican is sketching an aggressively angry Ogeode the Catbeast, where a perusing bibliophile could be forgiven for double-checking that the illustrator hasn’t been momentarily supplanted in their artistic duties by somebody less proficient in their pencilling for a rare panel or two.

The regular cover art of "STRANGE ACADEMY" #11 by Humberto Ramos & Edgar Delgado

Howard The Duck #1 - Marvel Comics

HOWARD THE DUCK No. 1, January 1976

Undoubtedly one of the most controversial comic book titles of the Mid-Seventies, this “fabulous First Issue of Marvel’s most sensational new super-star” supposedly caused quite a stir upon its publication in September 1975, not least because Ed Shukin “didn’t have much faith in the new series” and therefore only ordered a print run of 275,000 copies; “Marvel’s minimum at the time for a standard-size colour newsprint comic.” As a result Howard’s sword and sorcery stand “side-by-side with the Amazing Spider-Man”, swiftly sold out, causing the circulation director to acknowledge he had “underestimated that duck” and the 25¢ cover priced nineteen-page periodical to be ‘marked-up’ 5,000 percent amongst back-issue dealers to a staggering $12.50 by 1977.

Fortunately however, “Howard the Barbarian” is a superb example of Steve Gerber’s zany writing at its very best, and features a plot packed full of action, satire, as well as fantasy adventure, with the three-foot tall anthropomorphic duck even breaking the fourth wall by turning to the reader in one panel, cigar in bill, and saying “I realize this is strange, folks… But what the heck?” Little wonder perhaps that “comic-book collectible dealers reportedly snapped up every copy they could find through newsstand vendors and distributors” in order “to hoard the books and then sell them at vastly inflated prices.”

Admittedly the audience’s introduction to the cynical fowl is a rather depressing one, with the title’s opening panel, a stunning splash illustration by co-plotter Frank Brunner, depicting Howard disconcertingly contemplating suicide on the bank of the Cuyahoga River. Yet this gloomy start is arguably typical of the Will Eisner Comic Book Hall of Famer's writing, and events soon ‘pick up’ as the “funny animal” explores a “nutty tower”, discovers a scantily-clad Beverly Switzler and battles a ferociously-fanged hound with a “ceremonial axe” he can’t even lift. Indeed, the Missouri-born author’s script becomes increasingly amusing as it unfolds and ultimately concludes with a genuinely tongue-in-cheek solution by portraying the duck outwitting sorcerers, warriors, living stone statues and giant flying lizards not by sword and might, but with a simple flick of his stogie…

This comic also enjoys some excellent artwork by Frank Brunner, who is responsible for both its drawing and colouring, as well as Steve Leialoha’s great inking. There’s a real Robert E. Howard sword-and-sorcery pulp fiction feel to the artwork, especially with Switzler’s Hyborian maiden costume and Howard’s resplendent horned barbarian helmet. Certainly it should come as no surprise that these days the American illustrator is perhaps better known for having illustrated many of the covers for the 1974-1995 black and white magazine series “The Savage Sword of Conan”.

Writer: Steve Gerber, Illustrations: Frank Brunner and Inker: Steve Leialoha

Howard The Duck: The Movie #3 - Marvel Comics

HOWARD THE DUCK: THE MOVIE No. 3, February 1987

Bringing the “Marvel Comics” official adaption of Willard Huyck’s “Howard The Duck” motion picture to an end, Danny Fingeroth’s script certainly delivered its readers an action-packed conclusion with law enforcement gun-battles, devastating explosions, grotesque-looking alien invaders, harrowing plane flights and even a deafening rock concert. Unfortunately though, none of these plot points make much sense whatsoever, apart from predominantly providing the titular character with an opportunity to deliver a number of 'wisequacks' and bravely battle a supposedly all-powerful Dark Overlord; “Now I’ve got to really shake my tail feathers…”

In fact, the sheer amount of coincidences found within this twenty-two page periodical’s narrative must have disappointed its audience as much as Gloria Katz was when her ‘big screen’ production was nominated for seven Razzie Awards. For starters, just what are the chances that the police officers who arrested Phil Blumburtt “at the plant” would also stop to assist the clearage operation at Joe Roman’s Cajun Sushi Café, and resultantly leave the janitor hand-cuffed in the back of their car? Likewise, having escaped incarceration courtesy of his feathered friend, any perusing bibliophiles are then expected to believe the laboratory assistant lucks upon a ‘fully-fuelled’ micro-plane which just happens to have been stored overnight in the open within ‘spitting distance’ of the restaurant the pair are fleeing from?

Perhaps this publication’s biggest happenstance however is that, having somehow ‘slipped through’ Aerodyne’s presumably comprehensive security cordon, Howard and Beverly Switzler’s bespectacled acquaintance not only manage to locate a Neutron Disintegrator… developed for the army until the cost overruns became really embarrassing”, but a mechanised trolley with which to transport and fire it from. Of course, such destructive technology is ordinarily useless without a suitably-trained operator, so it’s rather jammy that the hero duck can both ‘shoot straight’ and also fit so precisely inside the vehicle’s cockpit that his webbed-feet can activate the peddles whilst the weapon's lethal-looking barrel harmlessly rests just above his head…

Quite possibly the only strength to Issue Three of “Howard The Duck: The Movie” therefore is Kyle Baker’s marvellous rendering of Steve Gerber’s co-creation, which despite the shocking storyline still manages to maintain an appeal throughout his misadventures. Disappointingly though, the same cannot be said for the rest of the American animator’s pencilling, which whilst conceivably competent, appears overly messy and discouragingly ill-defined upon the printed page.

Writer: Danny Fingeroth, Artist: Kyle Barker, and Colorist: Glynis Oliver

Howard The Duck: The Movie #2 - Marvel Comics

HOWARD THE DUCK: THE MOVIE No. 2, January 1987

If Danny Fingeroth’s script for Issue Two of “Howard the Duck: The Movie” is anything to go by then it’s abundantly clear why the 1986 American superhero comedy film was “widely panned by critics” at the time of its release, and “made about fifteen million dollars domestically compared to its thirty million dollar budget.” There just doesn’t appear to be any rhyme, rationale or reason as to why “Of Ducks And Men!” lurches from set-piece to irreconcilable set-piece, nor any underlying golden thread which gels together even the simplest of scenes. It certainly must have been difficult for this three-issue limited series’ audience to relate to the feathered fowl when he is unreasonably growling at “a world dominated by hairless apes” one moment, and then inexplicably working as a “water expert” at Hot Tub Fever the next..?

This unfathomable plot only starts to make some semblance of sense, once the “new breed of hero” has had his night-time titillations with Beverly Swiztler interrupted by Doctor Walter Jenning, the man “in charge of the whole spectroscopic laser program.” The scientist’s explanation that Howard has accidentally been brought to the Earth as a result of an experiment’s deviation, and can therefore send the alien home to Duckworld by ‘reversing the process’, at least gives the book an apparent aim and end goal. Yet it sadly soon steers off-course once again by depicting the anthropomorphic "funny animal" being strip-searched by Aerodyne Laboratories’ security guards and then literally placed upon the menu at Joe Roma’s Cajun Sushi diner..?

How anyone, especially director Willard Huyck and producer Gloria Katz, who co-wrote the screenplay Fingeroth adapts, thought any of this would make for an entertaining narrative is incomprehensible, especially when such codswallop was supposedly penned to generate a thrill-a-minute adventure full of tension and endangerment. True, Kyle Baker’s incredibly charismatic rendering of the titular character is remarkably well-drawn and dominates the vast majority of frames within which he appears, such as the action-packed bar-room brawl where he terrorises Ginger and Ritchie with an ice cube pick. But even a pleasantly pencilled “duck from outer space” isn’t enough to save the horrifically illogical and choppy storyline of this motion picture adaption.

Script: Danny Fingeroth, Art: Kyle Barker, and Colors: Glynis Oliver

Howard The Duck: The Movie #1 - Marvel Comics

HOWARD THE DUCK: THE MOVIE No. 1, December 1986

Brazenly advertised in 1986 as “the official comic book adaption of the blockbuster new movie from Lucasfilm” by “Marvel Comics Group”, this first instalment of “a three-issue limited series” arguably proves something of a slow start for a storyline which supposedly contains “more adventure than [is] humanly possible”. To begin with, very little actually happens apart from the titular character momentarily demonstrating that he is “a Master of Quack Fu” upon two backstreet molesters, and later getting uppity with an exhibition’s janitor when the bespectacled cleaner theorises that the feathered fowl comes from a planet where “the progenitor of the dominant species was not a monkey, but a duck!” 

True, the twenty-two page periodical does begin well enough by inexplicably sucking Howard, as well as his sofa chair, out of his apartment block and off into outer space. Plus there’s even a few crazy panels where the billed extra-terrestrial leaps through a couple of advertisement boards, dustbins and nightclub bouncers. But none of these comedic occurrences actually take Danny Fingeroth’s script much further forward, and are soon replaced by a tedious, dialogue-heavy succession of sequences which include Beverly Swiztler literally talking the demoralised duck to sleep in her apartment block, and then later dragging the bewildered bird in a bag to the Cleveland Museum of Natural History; “Trust me, Howard. Ronette in my band used to date the guy we’re going to see. He’s a palaeontologist -- You know, studies dead animals.”

Perhaps most mystifying though is the New Yorker’s conclusion to this book, which suddenly has the duck turning his frustrations upon a fountain full of tourists, and snarling at them all to leave him alone. Obviously, the narrative needed a cliff-hanger of some kind in order to convince the comic’s audience to purchase the next edition (as the rest of this book’s contents arguably wouldn’t have). Yet this explosive enragement towards the Cherry Bomb band singer and some innocently hapless bystanders is as surprisingly sudden as it is abnormally violent.

Fortunately, this title’s one saving grace has to be Kyle Baker’s depiction of Howard, which wisely steers a course far from the look of the motion picture’s animatronic suit, and instead far closer resembles Val Mayerik’s original interpretation of Steve Gerber’s creation. Cute, emotional, lovable and hilarious, it is in many ways a pity “Universal Studios” didn’t decide to release “a surreal satirical animated film” instead of the live-action multi-million dollar box office bomb which they did, and employ the American cartoonist as the movie’s main artist.

Script: Danny Fingeroth, Art: Kyle Barker, and Colors: Glynis Oliver

Howard The Duck #2 - Marvel Comics

HOWARD THE DUCK No.2, March 1976

As far as comic book villains go Turnip-Man is probably one of the least known or well-remembered characters created by “Marvel Comics Group”. Indeed unless you happen to be a fan of the publisher’s Seventies title “Howard The Duck” it is strongly doubtful that you’ll ever have heard of him.

However, in many ways he is probably only second to Doctor Bong in my memory of this particular period of the Bronze Age of comic books… and most of this is actually due solely to the striking Frank Brunner cover depicting “The Deadly Space Turnip” trying to fry the anthropomorphic duck with his eye laser beams. You see for many years this piece of cover art was my earliest and thus proudest edition of Steve Gerber’s creation and therefore took pride of place displayed upon one of my bedroom shelves.

Unfortunately the storyline to “Cry Turnip!” is not as good as Brunner’s illustration, and after a strong start, depicting the demise of Killmallard the Warrior (also known as a Howard the Duck nightmare), the plot rather fizzles out until a final frantic confrontation between Phelch, the aggressive space vegetable, and the former inhabitant of Duckworld.

Admittedly as the alter-ego of Turnip-Man, Arthur Winslow, is supposedly a parody of “Jungle Action” writer Don McGregor then there are probably a fair few in jokes at the American author’s expense which those not 'in the know' simply can’t identify with. It is clear however that “Killmallard” is a jab at the comic book title “Killraven”; a series detailing the exploits of a freedom fighter in an alternate post-apocalyptic future, which McGregor was writing at the time this periodical was published.

Issue Two of “Howard The Duck” does though contain some stunning artwork by Frank Brunner, well inked by Steve Leialoha and coloured by Michelle Wolfman. The battle against the dreaded Muurks and their Septopod during the opening few pages are as dramatically drawn as you can get considering it involves a duck with a ray-gun zapping away at double-headed extraterrestrials.

There’s also plenty of Howard’s scowls, grimaces and predilection for violence as the feathered fowl smart-mouths his way through a transit bus journey from hell. Even the ludicrous Turnip-Man and his purple and green costume is well-designed by Brunner despite it originating from an edible plant. Whilst for those readers with a penchant for bird-watching there's more than a page's worth of panels depicting Howard as naked as the day he was hatched.

Writer: Steve Gerber, Illustrations: Frank Brunner and Inker: Steve Leialoha

Howard The Duck #1 - Marvel Comics

HOWARD THE DUCK No. 1, January 1976

Despite being my favourite comic book character of all time, I only finally bought this three-foot tall anthropomorphic duck’s first edition a few years ago. Having been content up until that point to have a notable gap at the start of my twenty-odd issue run of the “funny animal”. Cost was predominantly the reason behind my reluctance to obtain it, but compared to the prices I’ve seen it ‘fetch’ recently I think my copy, despite a slight yellowing to its interior pages, was a real bargain.

Indeed “Howard the Barbarian” is a superb example of Steve Gerber’s zany writing at its best. The duck’s creator provides a plot packed full of action, satire, fantasy adventure and even a breaking of the fourth wall, with Howard turning to the reader in one panel, cigar in bill, saying “I realize this is strange, folks… But what the heck?” Admittedly the reader’s introduction to the cynical fowl is a rather depressing one, with Howard’s first panel, a full-page illustration by co-plotter Frank Brunner, portraying the duck contemplating suicide on the bank of the Cuyahoga River. However this is pure Gerber, doing something completely different with his characters from that of the other American comic book writers of the mid-Seventies… and besides, most readers who bought this 1976 issue were already fans of the fowl following his popular appearances in “Giant-Size Man-Thing”.

This issue also enjoys some excellent artwork as Frank Brunner is responsible for both the drawing and colouring, and Steve Leialoha provides some great inking. There’s a real Robert E. Howard sword-and-sorcery pulp fiction feel to the panels, especially with Beverley Switzler’s Hyborian maiden costume, and Howard looking cartoonish yet resplendent with his horned barbarian helmet and sword scabbard. It is thus no surprise that these days Brunner is perhaps better known for having illustrated many of the covers for the 1974-1995 black and white magazine series “The Savage Sword of Conan”.

Most amusing however is Gerber’s tongue-in-cheek solution to a plot which revolves around the duck outwitting sorcerers, warriors, living stone statues and giant flying lizards. For rather than try and best all with sword and might, Howard claims the prized gem-key with a simple flick of his stogie… and then relies upon a cameo by the Amazing Spider-Man to actually save the day.

N.B. This Issue was re-reviewed on 20/02/2018

Writer: Steve Gerber, Illustrations: Frank Brunner and Inker: Steve Leialoha