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"A WILD-RIDE ACCOUNT" —The Hollywood Reporter
"EPIC" —The New York Times
"INDISPENSABLE" —Los Angeles Times
"DEFINITIVE" —The Wall Street Journal
"SCINTILLATING" —Publishers Weekly
"AUTHORITATIVE" —Kirkus Reviews
"GRIPPING" —Rolling Stone
"A MUST FOR ANY SUPERHERO OR POP-CULTURE FAN" —NY Post
"ESSENTIAL" —The Daily Beast
"A SUPERPOWERED MUST-READ" —USA Today
"REVELATORY" —The Miami Herald
"AS FULL OF COLORFUL CHARACTERS, TRAGIC REVERSALS AND UNLIKELY PLOT TWISTS AS ANY BOOK IN THE MARVEL CANON" —Newsday
Howard the Duck artist Frank Brunner was tired of having to follow fully scripted stories by Steve Gerber—and tired of Marvel’s refusal to raise his page rate. He left the book, and through a small mail-order company began selling poster prints of a mobster duck, titled “Scarface Duck.” It looked a lot like Howard … but then, hadn’t Howard already looked a lot like Donald Duck anyway? “I was filling a void left by slow-moving Marvel,” Brunner reasoned, “which did not immediately see the potential of the fan market—or of the duck.”
The print sold quickly. Gerber wasn’t pleased. He told Brunner he wanted some of the profits from his co-creation.
“Which part of the print,” Brunner asked Gerber, “did you write or draw? What part of the deal did you arrange?”