If It WAUGHs Like a Duck #10: You Can’t Go Home Again
Home is where the egg (or Bev) is.
Home is where the egg (or Bev) is.
Canada: As cold as space, and home to nearly as many anthropomorphic animals.
Sometimes looking back is the way to move forward, but that isn’t the case here.
Brief reviews of comics released the weeks of 1/13 and 1/20 – including Ms. Marvel #3, the Mighty Thor #3 and Sam Wilson: Captain America #5
A duck by any other name could still be cool to read about, but he might not feel like Howard.
An overview of posts in need of revisiting.
Brief reviews of comics released November 25 to December 2, 2015; including Totally Awesome Hulk #1 and Prez #6.
In 2015 Howard the Duck explores a welcome tangent, while in 1976, he feels like he is finally moving in the right direction.
Brief reviews of comics that came out from 11/4 to 11/18, 2015 (plus a few outliers), including: Spider-Woman #1, Mighty Thor #1 and Monstress #1.
Howard and his female companion(s) on the road, again.
Brief reviews of comics that were released between July 1st and August 12th, including Bizarro #2. Silver Surfer #7 and Hawkeye #22.
What do letters published in these books tell us about the difference in these series?
Gerber takes on the critics, while Zdarsky takes on the Marvel Universe.
Brief reviews of comics released on June 17th and June 24th, 2015 – including Prez #1 and Ms. Marvel #16.
The hope of the new Spider-Woman series.
Mini-reviews of recent comics including A-Force #1, Spider-Woman #8 and Deadpool’s Secret Secret Wars #1.
In which my preference switches between the two series. Fast and funny beats turgid “commentary.”
Short reviews of comics released between May 6th and May 13th, 2015. All Marvel Comics this time around.
Reading these two comics together that stand (let’s call it) 40 years apart, I can’t help but wonder if the versions of Howard I saw in previous issues somehow flipped across time and space to take each other’s place.
Brief reviews of comic books from 4/15 to 4/29, but a couple go back a few weeks further.
1999’s appeal emerges from a sense of danger, from the scandalous possibilities of a morality unbound by the coming apocalypse, disguised as synth-heavy dance pop