Episode Transcript
[00:00:00] Speaker A: David, you don't get to boss me around.
[00:00:02] Speaker B: I'm not bossing around. I'm just saying hit record so that, you know, it's Rousing issue. No, you duck yourself.
[00:00:15] Speaker A: This is a lot of duck we got into this week.
[00:00:18] Speaker B: Oh, we did. And there's no duck in it. It's not when you're talking Destroyer duck.
[00:00:24] Speaker A: It'S a lot of foul.
[00:00:26] Speaker B: It is a lot of foul. It's a ducked up issue for sure.
[00:00:30] Speaker A: Fouled up, ducked up, all sorts of problems.
[00:00:34] Speaker B: It's quackers.
[00:00:35] Speaker A: I don't know if there's a lot of problems, but no.
[00:00:38] Speaker B: Well, it came from problems, and they turned a bad situation to a good situation.
[00:00:44] Speaker A: Well, let's talk to the fans about what we're actually reading.
[00:00:47] Speaker B: Yeah, let's do that. I kind of dropped it. I dropped the title in there. I didn't bury the lead too much. I said, we're talking destroyer.
[00:00:56] Speaker A: Duck.
[00:00:57] Speaker B: People don't know what Destroyer duck is. Probably. They're like, I don't know what this is. I didn't know what dollar Bin.
[00:01:03] Speaker A: It's one of the first Eclipse comics ever.
[00:01:05] Speaker B: Yeah.
[00:01:07] Speaker A: Or totally create our own independent ones. Anyway.
[00:01:10] Speaker B: Yeah. Honestly, as I started picking up stuff in my later years, not when I was younger, but when I was younger, digging through boxes, I'd see these Eclipse books and I was like, what are these?
They'd always be interesting. But it wasn't something like I knew. But as I got older, I was like, oh, man, these are nice gems to find. And this is a definite gem.
[00:01:38] Speaker A: Well, I think, too, when you're a kid, right? You're programmed to know I same for me. Right? It's like, okay, image was a big change in that, right? Because it's like, you have Marvel and DC. And then when all those artists went at the same time, it's like, oh, wait, this isn't just an indie company.
This Image, everybody you look at some of the early Image stuff, it's very much an indie company.
[00:02:04] Speaker B: Oh, yeah, definitely.
[00:02:05] Speaker A: Because some of the stuff is just not good. Right.
And I would say, like, some of the indie books were much better. Right. We were talking about first a couple of podcasts ago, right. An American flag and John Sable. So first was putting out some really high quality stuff in 1984. That's only a couple of years after this. This was put out in 1981, originally. But we're looking at the Tomorrow's Publishing Destroyer Duck graphite edition noted by should I just say it?
[00:02:37] Speaker B: Yeah.
[00:02:40] Speaker A: The writer is somebody you should have heard of, Steve Gerber, because he created some guy named Howard the Duck.
[00:02:47] Speaker B: Oh, yeah, that Howard the duck book. And then they made a movie and some other stuff.
[00:02:52] Speaker A: He wrote a bunch of stuff for Mean. It's not this isn't the only thing. He defenders work. He wrote for the big two. Later, he's done a ton of stuff.
And then the artist on this book is some guy I'm sure you've never heard of.
[00:03:08] Speaker B: It kind of escapes me a bit.
Some people might call him the King.
[00:03:14] Speaker A: Jack Kirby.
[00:03:16] Speaker B: Yeah, that Jack Kirby guy.
[00:03:18] Speaker A: And the cool thing about this edition is they rereleased these just with his pencils.
So they call it the graphite edition. Get it? Pencils.
[00:03:29] Speaker B: Pencils.
[00:03:31] Speaker A: But one as we get into this, if you're interested in this at all, I highly recommend I'll try to remember to put a link to this in the chat, assuming they still have some in stock. Right.
This is amazing. I bought this for Greg as a present, still haven't given it to him. He has the electronic the PDF, because Tomorrow's is always nice enough to give you a PDF of the work when you buy the actual physical work. So super cool on them too. And I bought it for Greg and then haven't given it to him. So I'm sitting here reading out of Greg's nice hardbound copy and Greg is reading you got when you got the COVID the manslaying Mallard's Mission of Vengeance, reproduced from Kirby's. Pure pencil art is the catch. And we've got forward by Mark Evanir, who apparently reading him. I didn't know much about him, but he was heavy into Eclipse comics as well as a bunch of animation. So super cool. You probably knew about him. I'm the ignorant one there.
[00:04:35] Speaker B: Well, when you look up Mark and you start to tie all the lines together in your crazy board that everyone has in their office, like I do as to everything that's ever touched your life as a child or something like that, you're like, wow, everything so lots of different connects there.
[00:05:01] Speaker A: Yeah. Well, yeah, I mean, you are sort of like the question, so I understand. Crazy board.
[00:05:07] Speaker B: I had to jump off for a.
[00:05:08] Speaker A: Second, grandma's calling me back and around and quack quack back into so when Greg had to take a slight interruption, we were on to talking about how Mark Ebonyer sort of touched all sorts of parts of everyone's childhood. And yeah, it's something.
I was joking with a listener. So apparently we have more than one person has been listening to all our podcasts. And I said in this episode it's going to be backwards world because Greg's going to have more of the history and Dan's going to have more of the questions and wow, this comic is cool.
But yeah, I was excited.
I've only read the front matter, I haven't read the back matter, but just the front matter is freaking amazing. Just this little twelve page kind of story about how this comic comes to be. And we get about twelve pages of story between a forward by John Morrow, the editor at Tomorrow's, which shouldn't surprise anybody if you follow their company. And then this introduction. Yeah, it's really neat. I think the other really, I'm going to say really neat a thousand times because it is amazing part of this book. And you were just sort of talking to me you also get a big piece of history because the plot and synopsis for every single or at least for the first story is there. And you get to read basically like Steve Gerber having a one sided conversation with Kirby.
[00:06:41] Speaker B: Oh, yeah, it's it is absolutely beautiful.
I love it. I love the fact that they have this friendship and this ability to have know, he's like, Jack. This is what he goes into. It like they've had this conversation and he's scripting it out. And it's like, I imagine this room filled with these anamorphic people, these animals, they got people bodies, but animal heads. This is how I want them drawn. And it's just very detailed. And it's the kind of script that is that classic Marvel script, in a sense, where we're going to fill in the dialogue later. This is everything I want in the panels. And I love reading it. It's so rich and it's great to read something like that. It's not something it's the kind of scripts that I would write with Travis for Bret.
[00:07:40] Speaker A: Bret are for starlight.
[00:07:42] Speaker B: I apologize.
Bret Woodell and Travis Webb. So Travis Webb and I write Starlight, and when we write for Brett, a lot of it is that kind of conversation we're having with him because we've known Bret for a very long time. Travis and Bret have a friendship that spans decades. And I've known Bret for, geez, like a decade now or more. But it's one of those things where when you know somebody and you can have that kind of conversation and you know you're on the same wavelength.
[00:08:12] Speaker A: Right.
[00:08:12] Speaker B: It's not something that you could just do and be able to just drop that kind of script to somebody and expect them to just make it happen. Because a lot of times when you're scripting out something, especially something as detail as this, if it was anybody else, any other team, you'd probably want everything out there on the page so that there's nothing being missed. Right. So I know when I've done other projects, everything is in there, all the dialogue, everything else, so that there's an idea as to how much space we're going to use and other things like that for lettering and other things. So it's interesting to see how the flow works between different creative teams. And with this creative team, you can see that kind of unique bond that they have. Definitely from the school of comic book creation that they're from.
[00:09:13] Speaker A: Yeah, well, no, I think I'm just I mean, and this is the kind of thing, again, I was joking because you're going to have so much more knowledge here because you do this right. For those of you that aren't aware, greg writes comics and works with artists and yeah, this is neat. I think that also I keep saying neat because it is. Right. It's one of those things you read and you're like, wow.
Also, the history of this, though, when you look at the why behind the why behind this comic book being produced at all, right, this in today's world might have been produced. I mean, we've seen the stuff with Bill Willingham, right, and Fables trying to put it in public domain over a dispute with a publisher.
You may be waiting for a property of yours from a certain so I'm not saying it doesn't happen now, right? It certainly happens now, but I think it's less likely, right, that people would have to take these steps to get a book published. And so if you're reading the back history or you're not familiar, stever Gerber writes for Marvel. He writes some Defender stuff, some other stuff. And then he creates Howard the duck.
[00:10:29] Speaker B: Yeah, he creates Howard the Duck, and he gets the short end of the stick. That's the easiest way to say it, right?
He writes a nice run for them, and they tell him, I want to say, like, hey, we're going to stop the line on this for a couple of different reasons, but we're going to just say you're slow on production.
That was the reason. And he's like, I want my book back.
[00:11:03] Speaker A: Yeah.
And they wouldn't give it to him.
[00:11:09] Speaker B: Because at the time, it was a lot of I want to say, like, contractual stuff and other things like that. It was a big, well, who owns this? Does he own it?
Was he a work for hire? Does he create this for the company? Did he create this as a partnership? Was it something that he owns? So it went into, I want to say, like a couple year lawsuit for him and Marvel on the actual Howard the Duck property before anything was decided and before they even went any further with it, or before he continued to work for them on stuff because he was kind of at a standstill. And this book came out of that, I want to say frustration point.
[00:11:56] Speaker A: Yeah. And eventually, if you know a little bit of the history, he does team back up with Marvel, right? Because he is a writer on the Howard the Duck movie in 1986. So this was in 1981. So I wouldn't say it was like a great, loving, hugging relationship getting back together, right? But they do. But then, of course, Howard the Duck the movies might be one of the I don't want to say worst adaptations.
[00:12:24] Speaker B: But it's a definite unique adaptation of the story. And it was an interesting telling of Howard the Duck.
It was definitely, as a kid watching it, I thoroughly enjoyed it. As an adult watching it, I'm kind of like, how did they make this?
But at the same child, the child inside me loves it so much.
I don't know. Also, I've said it on the podcast before.
Howard the Duck, the comic book series, is a comic book run that I've had in my collection since I was a kid because it was one of those ones that was gifted to me from my dad, my uncles, and stuff like that. And then at one point, I believe that they took a couple of the key issues. There's the Star Wars cover and a couple of the other ones that were high value. They've ridiculously. Been high value. And even back in the 80s, when these things happened, they borrowed them to go put towards other things and borrowed them with the intent of putting them back in the collection, and they never went back. So I've been hunting them down ever since.
[00:13:43] Speaker A: Yeah. And that's know, I have never read a single Howard the Duck comic book. So this is my introduction to Steve Gerber's duckverse. I have watched the movie, and I can't tell you that I remember anything about that movie.
[00:13:58] Speaker B: He was a duck, and he ended up on Earth.
[00:14:01] Speaker A: There you go. I know that part. He's a duck. He's here. He's from another universe, correct?
[00:14:06] Speaker B: Yeah, he's from another universe.
I will tell you this as you read Destroyer Duck, and as we get into it, maybe the parallel of Destroyer Duck and I'm jump into this a little bit, but on his hunt for the little guy, maybe the little guy is Howard the duck. We just don't know.
[00:14:26] Speaker A: Be it it could be, and we don't know, but we're going to find out. And I will say about this, I think it's important to know the history of Howard the Duck.
And they give you that in this book, right?
[00:14:39] Speaker B: Yeah.
[00:14:39] Speaker A: So it's there for you.
I love not the whole they just the history of how.
[00:14:48] Speaker B: Yeah, Marvel versus Gerber. And Gerber going to these and I can say I've been in these kind of Gerber type situations where they talk in the back matter, where he's at a party. Well, no, but maybe but he goes to a party, doesn't know anybody. He's like, oh, I'm talking to this person. I didn't get their name, but we really hit it off, or whatever. And then all of a sudden, you're like, oh, hey, this is so and so, and I just spent, like, an hour talking to this person. That's awesome.
But it's one of those just random moments that just happens or whatever. And it's neat because it's like, oh, this is literally how the industry does work in that sense.
[00:15:35] Speaker A: Well, and you're saying how Mark Evanir met Steve Gerber, so he's referring to the front matter, and yeah, they're just after Gerber had split with Marvel, and he meets Mark Evanir at a party, and I interesting story, too. It's like the ultimate starving artist story, right?
Mark Evanier gets upgrades to a king size bed and gives Steve Kerber all of his bedding. That's how they meet each other. Here you go. I don't need this.
[00:16:05] Speaker B: It's interesting because that is literally how on the weird level of how things work in this industry, it is that simple. In some cases, creators meet creators or meet other people, and you bounce these things off of each other. And that's how you become friends with people.
[00:16:29] Speaker A: Well, and then how Jack Kirby gets involved. So the story there was great, too. But I think we'll get to the story in a second. But we're going to talk about the front matter today. And then when we review the rest of them, we'll start talking about some of the back, right?
[00:16:43] Speaker B: Yeah, yeah.
[00:16:43] Speaker A: So we're just going to review one issue today. We may review a couple issues at a time in the next one, but we want to make sure we got through some of this front matter. I thought the real interesting part, too, is we find out that Gerber wrote for created. I didn't know he created it. I thought he just wrote for it. So created Thundar the barbarian with Jack Kirby art. Right. So I didn't know.
See, and this is what happens. You had your dad my dad could care less that a comic book existed. Right.
He knew who Superman was and had read them as a kid. Right. But he's like, those are little kid things. Your dad had all that stuff, and your uncle. So you're looking at these things. Thundar was one of those things. I know you were too young for Thundar. And I was also too young for Thunder, right. So Thunder came out when I was five.
[00:17:40] Speaker B: Yeah, too young, but still got some of the books at some point because.
[00:17:47] Speaker A: But I didn't get into right. People talk about Sundar was a channel changer for me. I was looking for the Super Friends or something else. So when I was a little kid, it was on ABC. It ran for just a year, I think, or a couple years. It didn't run very long. It did have a rerelease, but when they re released it, then I was old enough, but I was like, what is like never got into it, and I've never gone back and watched it. And people talk about it.
It's referred to kind of by some people's, like the greatest cartoon ever made, right. Of that time period.
[00:18:22] Speaker B: If you don't have Thunder, you don't have Mean in my mind. If you don't have Mean for a lot of, like, Thundar is the jump off.
If you have an experience with Thundar as a kid, then you get into other things, like beastmaster, or you get into things like Conan the Barbarians, stuff like that. And then you're like, oh, wow. What are these other books? They're a little more advanced in that sense. Right? And then you start reading these things, and you're like, oh, wow, that's really cool. It's a nice jump off point, right? And then you're like, oh, hey, cool. They made a movie with Conan and it's the same guy.
[00:18:59] Speaker A: Yeah. And you also look at the time frame. For me, I didn't get if you look back to that Legion issue I was referring to with the starboard origin, that was in 1983. Right. So Thundar was rerun on I'm on the great source, Wikipedia, but it was rerun on NBC in 1983 because they tried to revive it and it just ran for a couple of seasons. Right. So it says from October 4, 1980, to October 31, 1981. So I had had comics, right? I had had some whole comics and things like that, but I wasn't super into comics. I remember before my Legion book, I had one of those three issue Marvel sets, and I read those over and over again.
But yeah, I didn't have a lot right. Or access to things. So it hadn't hit me. So this style of writing, right, the Steve Gerber style of writing probably wasn't like hitting my five year old brain either. I'm like, oh boy, he drops.
Yeah. Then I'm like, who all are all these characters now? Super Friends. Easy access for a five, six year. That's simple writing. Very same backgrounds, same characters every time. One thing I will say, though, I think I've shared, too, with you, is I always got excited, like, with the challenge of the Super Friends, or the ones where it wasn't just Superman and right. And Wonder Woman and Aquaman. Right. I thought those were not my favorites. My favorites were when all these other random people appeared. Yeah. I just also wonder how accessible Thundar is if you weren't into fantasy stuff.
[00:20:33] Speaker B: Yeah.
[00:20:34] Speaker A: Into sword and sorcery. Yeah, that's fair.
[00:20:36] Speaker B: If you weren't into sword and sorcery you weren't into the fantasy stuff, you weren't into, you know, Lady Hawk and stuff like and literally at that time, it was like, for me at least, it was a gateway. And then literally, as I got older, it opened other doors like DND and other things like that. But we're not going down that road right now, folks. We're talking.
[00:20:57] Speaker A: Yeah, but I think it's important backstory. Well, even you left one out because DC had their copy, right? Camelot 3000. Right.
[00:21:03] Speaker B: Oh, yeah.
And that was one that was like, it was interesting.
[00:21:08] Speaker A: It was not the same.
[00:21:09] Speaker B: It's not the same.
[00:21:10] Speaker A: Yeah, just like carbon copies of anything are not the same. Yeah, but the people that worked on this, like Marty Pasco wrote it. Mark Evanier, of course, wrote some of know, you start looking at you're starting to see the connections here. A lot of these connections end up working on this book.
[00:21:30] Speaker B: Oh, yeah.
[00:21:31] Speaker A: Or putting stories not in Destroyer Duck, but put stories in the back. So anyway, it's pretty neat. So we'll get I've said neat like eight times. Because it is. Why don't we get into the story a little bit okay. And see what they were doing. And I guess I said we're going to get in the story, but then I was going to ask you a question.
[00:21:56] Speaker B: Yeah, ask me a question.
[00:21:57] Speaker A: Throw it out in 1981. Script is being written, right? Is there anybody that hates Marvel Comics more than Jack Kirby and Steve Gerber?
[00:22:07] Speaker B: Anybody that hates them more, maybe? Well, maybe.
[00:22:13] Speaker A: Yeah.
[00:22:14] Speaker B: I mean, there are a few people out there. There are a few people out there.
[00:22:18] Speaker A: Neil Adams.
[00:22:19] Speaker B: Neil Adams.
[00:22:20] Speaker A: Definitely. Though he would have more pissed at.
[00:22:23] Speaker B: DC in general speaking on behalf of all creators. I mean, he's just looking at it from a creator standpoint. And he's wanting to help all creators and get leverage. Yeah, Neil Adams is looking for leverage for all creators at that point. He's beginning that front. Right.
So at this point, he's looking at all the big two as a whole, as these are both bad places.
We need to get some leverage. We need to do some creator own stuff and get it to a point where people are getting fair pay for what they do.
[00:23:04] Speaker A: And so we've got a couple of cool things start out here.
[00:23:09] Speaker B: There's also another person in the mix, too. Can't forget about Sergio.
[00:23:14] Speaker A: Oh, yeah.
[00:23:14] Speaker B: That's like just an amazing creator of his own on everything that he's ever done for Mad and Grew and other things like that. But I mean, he was a great when you look at the things that he's done and did as a creator, definitely fits into the mix of somebody that was like, hey, I want to do these things, and being told constantly, no. And it's like, but I can do this, and I'm going to do this because I'm doing it.
[00:23:47] Speaker A: And I didn't read a lot of GRU either. Right. Because now we're back to fantasy. Funny version of the same genre, right?
[00:23:53] Speaker B: Yeah.
[00:23:54] Speaker A: That wouldn't have necessarily appealed to me. But yeah, they noted in the front matter that the first appearance of GRU was in the Destroyer Duck comic book.
And I was like, oh my. Like, how is that in the dollar bins ever?
[00:24:06] Speaker B: Right? I know, but it is.
[00:24:11] Speaker A: And know, we do need to mention Alfredo Alcala, Too, who inked So and all these folks did this for free. So the amazing part is they decided to have this book. Everybody donated their work to it, but they got to own their work and then Eclipse published it. So they made over $50,000 on the first book for Steve Gerber's legal fees against Marvel. And this is how committed this creator and artist community is to take down one of the big two. And I'll also say, Too, you think about this, right? Again. I mentioned image, right? And it's like image is that time when all the artists got together and set a big fu to Marvel and DC, right?
Wait a minute. It had already happened. Yeah, ten years earlier.
[00:24:59] Speaker B: Yeah, with this one close book. Without a book like this, honestly, people, you don't have the kind of Kickstarter community that we have right now. You don't have the kind of indiegogo community that you have now. You don't have the kind of coffee community that you have.
[00:25:14] Speaker A: You don't have Teenage Mutant Ninja Turtles.
[00:25:16] Speaker B: You don't have Teenage Mutant Ninja Turtles. You don't you don't have these two guys creating their Mirage comics. You don't have any of that because there is no, I want to say, tangible, like, you can do this without something like this. This is a really good Genesis point. I mean, you have other books out there that have been done that did something. But this created such a groundswell and it was such a big moment because.
[00:25:48] Speaker A: Mark Evanier makes the point that they were able to prove that you could do this without a giant staff and giant overhead. Yeah.
[00:25:54] Speaker B: And people just donating their time and doing it right.
[00:25:57] Speaker A: They did home offices and put it together, and he said they were really proud of it because the quality of it was as high as a book coming out of those other publishers.
[00:26:06] Speaker B: Yeah.
[00:26:06] Speaker A: They were even using the same printer that the other publishers were using.
[00:26:11] Speaker B: Yeah. When you look at this book, you're like, this is on par with everything that they've worked on in the past with those big two. It's just not from the big two.
[00:26:21] Speaker A: Well, let's get into this. Got. First off, as we get into it, we noted Neil Adams inked the COVID and there's a letter from Steve Gerber.
Dean Mulaney, apparently from Eclipse, went to Neil Adams studios at continuity and watched Neil Adams ink the book. And Steve says, here are the logo and original Xerox reproductions, the first half of the plot, and the original Kirby art for the COVID of Destroyer Duck. I'm writing this before I actually see Jack's drawings, but I'm sure he's done beautifully with it. Don't let Neil change the pencils and don't let him take very long getting this done. Camp out at continuity if you have to, but be sure he gets it finished quickly. And just in case such a camping trip isn't feasible, make stats of the pencils. Please. Call me to let me know the package arrives safely with this one of a kind stuff. I get very scared. Let me know what you think of it all. Take care, Steve. He says PS. On a whim, I sent a copy of the Destroyer Duck ad to Dick Giordano, who's at DC Comics, along with some of his Phantom Zone pages, assuming he got to do that for DC at the time. It'll be interesting to hear his reaction to this project.
[00:27:42] Speaker B: I love this letter so much for all that. For all that.
[00:27:48] Speaker A: And I love it all as well. And then I also want to point out one more thing, because I said we're going to start, but we've got the cool Destroyer Duck logo here, and I believe you've maybe heard of the.
[00:28:01] Speaker B: Letterer, maybe one Tom Orangeowski.
[00:28:07] Speaker A: Have you ever worked with that.
[00:28:13] Speaker B: Mean.
[00:28:13] Speaker A: So he's still giving his work to indie creators and indie books.
[00:28:17] Speaker B: He is still working on indie books with indie creators. He is the letterer for Starlight. He is a record holder for the Guinness Book of World Records, for Littering, all the Spawn books and he's working for all the book. He's done work for everybody. So not just indies but he's an amazing litter. And honestly my writing based off of notes from him and discussions and stuff like that. I will say having an amazing letter that's been in the industry for decades has helped me become a better writer because I have a better understanding of what you're going to want to put in there. And a lot of times it's just amazing how just a small conversation sometimes makes a difference.
[00:29:11] Speaker A: Again, the tiebacks in this are crazy. Right?
You've actually worked with one of the major contributors to this book.
[00:29:18] Speaker B: Yeah.
[00:29:19] Speaker A: For your own book.
[00:29:21] Speaker B: Oh my gosh, I have goosebumps right now. You don't even know just because it's such a piece of history and just having that small little tie to it, it's kind of cool.
[00:29:41] Speaker A: Well, we get the opening page here and we get a letter from Ned Packer, president to Sydney Upwind, chairman from God Corp. Limited in her office memo. And it was made very clear by Mark Evanir in the front matter that Ned Packer is supposed to be Jim Shooter.
[00:29:56] Speaker B: No way.
[00:29:57] Speaker A: Yeah, like just full on. You know what, someday we're going to interview Jim Shooter and this guy's just going to punch me in the face.
[00:30:06] Speaker B: For all the things, all the things.
[00:30:09] Speaker A: All the things I've said. But Jim, remember when you were like 13 and wrote those Legion stories? We all loved you.
[00:30:16] Speaker B: We did.
[00:30:17] Speaker A: And then you grew up.
[00:30:19] Speaker B: Yeah.
[00:30:20] Speaker A: And admittedly you can go from being a nice kid and growing up to be a complete fucking asshole.
No, it could happen. But then after he left Marvel Comics as the editor, he seems to have chilled out and become a nice guy cause but his blog still does take credit for everything in the universe.
You know that everything started and ended with Jim Shooter. He's the alpha and omega of comics, right?
[00:30:48] Speaker B: Yeah. Because he wants to grab it all, own it all, drain it all.
[00:30:51] Speaker A: Well that is what Godcorp stands for.
[00:30:54] Speaker B: It is.
[00:30:54] Speaker A: And here on a cover we have this memo dated May 2. It says, our people and legal concepts inform me that as we have initially believed, ducks have no rights under the law, regardless of what vocal verbal ability they may possess. Accordingly, the little guy, as per my previous memo, shall henceforth be accorded all the respect ordinarily reserved for the unruly chattel. It the duck is our property to do with as we see fit. All contracts entered into with the Fowl are to be considered null and void. Its salary is to be discontinued. All communications from its attorneys are to be. Ignored. Entertainment concepts may exhibit the little guy when and where, in whatever matter it chooses and at its sole discretion. Or as we have discussed last Friday, we should feel free to hand the animal over to the medical concept boys for research. I recommend the latter, as the public is likely to sympathize with the Duck's anti god corp sentiments should he ever find a forum for the same. The media loves this kind of crap. The sooner we determine a profitable manner to dispose of him, the better. Packer, Ned. Packer NP. And he didn't even write this himself. He had a secretary.
[00:32:07] Speaker B: Write it.
[00:32:07] Speaker A: Yeah, there's initials. And Then We've Got The Human Needs Division. Includes Eating Concepts. Meat Concepts. Vegetation Concepts. Dwelling Concepts. Apparel Concepts. Companionship Concepts. Intimacy Concepts. Devotional Concepts. Behavioral Concepts. Mercantile Concepts. Sleep Concepts. Mobility Concepts. Medical Concepts. Sewage Concepts and Death Concepts. Their leisure. Division includes Entertainment Concepts, Jock Concepts and Partying Concepts. And Their Sociotechnology Division includes Energy Concepts, mineral Concepts, military industrial Concepts, conceptual Concepts, intelligence Concepts, legal Concepts, and Enforcement Concepts. I believe we call this vertical integration.
[00:32:41] Speaker B: Yes, that is correct.
[00:32:44] Speaker A: And at the bottom of their memo, it says, we make product.
[00:32:47] Speaker B: Yes, they make their and in today's world, you could align that with just about any corporation. But yes.
[00:32:55] Speaker A: Anyways, now, I Did have Paul Pedro, the Jiu Jitsu Lawyer, look over this Memo, and he didn't think it was particularly he didn't think it would stand up.
[00:33:07] Speaker B: No. Just say that it's a letter. It's a memo, but it's not.
[00:33:13] Speaker A: But if somebody was sentient, he didn't think this would stand up.
[00:33:17] Speaker B: No.
[00:33:18] Speaker A: Well, anyway, we get to the story, and we get destroyer, duck, manslaying, Mallard on a mission adventure. It's created by Steve Gerber and Jack Kirby. Alfredo Alcala. Steve Leola was the original colorist again, and he Redo drew some of the Beaks we learned and beak Consultant.
[00:33:37] Speaker B: Yes.
[00:33:37] Speaker A: And Tom Orchowski, I'm going to say I always say it wrong. You say It right because you are friends with him.
[00:33:43] Speaker B: The Original Letter, he spelled it out phonetically for me, so that Orange.
[00:33:49] Speaker A: And also in the front, I will say John Morrow re Lettered it for this.
[00:33:56] Speaker B: Cool. Cool.
[00:33:58] Speaker A: All right. And we've got a Duck that's had a hard day of work.
[00:34:02] Speaker B: Yeah, he's unwinding at this nice Bar, came Back with a beer, and we Find out.
[00:34:11] Speaker A: His name is.
[00:34:15] Speaker B: Dick Destroyer. Wow.
[00:34:16] Speaker A: I was thinking of the Destroyer Dick. Byer. I'm sorry. The Wrestler. Yeah, my bad. You can see how that would make sense.
[00:34:25] Speaker B: Yeah, it makes sense.
[00:34:26] Speaker A: Duke. Destroyer, duck. And he is very Pissed about his Wife leaving him or his girlfriend, I can't tell, but for some sort of.
[00:34:36] Speaker B: Hippie yeah, he's just upset.
[00:34:39] Speaker A: And it says in the caption the little guy destroyer's, lone, friend and confident, can only manage a shrug. We've got a lot of animals in a bar. It Looks like a adult version of The Zoo crew that comes out a few years later.
[00:34:52] Speaker B: Right. Whole bunch of animomorphic animal people done.
[00:34:56] Speaker A: By another marvel editor, Roy Thomas at DC.
And then as Destroyer is complaining about all the things that are happening, all the rest of the workers there keep making fun of him, giving him a tough time.
[00:35:14] Speaker B: Yeah.
[00:35:15] Speaker A: Basically say. And he's like, I can't help it if I'm sensitive.
And as we get going through the story, we have one catwoman, I might say. Yeah, I don't know her name, but a cat woman.
[00:35:32] Speaker B: Yeah, she's a cat woman.
[00:35:33] Speaker A: Says, someone ought to nail that large duck's yap shut.
And we got the little duck. He just says, probably not Duke. Some of us just aren't given too big emotional not it's not a good day for Destroyer.
[00:35:48] Speaker B: No. Not a good day.
[00:35:50] Speaker A: Not having a good time.
[00:35:51] Speaker B: No.
[00:35:51] Speaker A: And then somebody takes Destroyer's hard hat off and dumps a beer on him.
[00:35:59] Speaker B: Sploosh.
[00:36:00] Speaker A: It's a big, loud warthog. And this is before Warthogs were beloved by all.
[00:36:05] Speaker B: Yes, before they were beloved by all because of Teenage Mutant Ninja Turtles.
[00:36:10] Speaker A: I was thinking of Timon and Teenage Mutant Ninja Turtles. The Warthogs are still bad guys, right? They're bad guys.
[00:36:20] Speaker B: But you love them. You love the warthog.
[00:36:24] Speaker A: They're the laughable bad guys. Well, kind of like here. Yeah. And maybe, just maybe, I'm not saying they lifted that right out of here, but it kind of looks like they did.
[00:36:33] Speaker B: Could have. Could have.
[00:36:35] Speaker A: It's entirely possible.
[00:36:36] Speaker B: Totally.
[00:36:37] Speaker A: I'm going to guess that they were probably big fans of this book.
[00:36:40] Speaker B: Probably Eastman.
[00:36:42] Speaker A: I have no idea. I have no proof of this in any capacity.
[00:36:46] Speaker B: We could go ask them someday.
[00:36:47] Speaker A: We could, I guess. They're becoming less accessible again, though, because now they got famous again.
[00:36:52] Speaker B: Yeah, that's a tough thing. We missed our shot.
[00:36:57] Speaker A: Yeah, we needed that down quiet time. Well, anyway, Destroyer is not a big fan of what's going on. And he stuffs the Warthog's head in the beer mug.
[00:37:07] Speaker B: Yeah. Which is really a know.
[00:37:11] Speaker A: Yeah, it is quite a feat. I mean, just the tusks alone.
[00:37:14] Speaker B: Yeah.
[00:37:15] Speaker A: He kind of reminds me of Tuskeker of the Legion of Substitute.
[00:37:17] Speaker B: Oh, yeah, totally.
[00:37:19] Speaker A: Well, not the Legion of Substitute villains, I think.
[00:37:21] Speaker B: Substitute villains? Yes.
[00:37:23] Speaker A: Well, they have a little tumble back. And Destroyer comes back to Little Duck and says, how'd you like that, uppercut pal? And he's like, Real keen, duke peachy. You descended effortly to Benny's level.
And then the little duck disappears.
[00:37:41] Speaker B: Poof. Gone.
[00:37:42] Speaker A: And we have no idea what's happened to him. It's like the memo happened at the beginning of the story. They just took him away.
[00:37:49] Speaker B: Yeah, just took him away. Gone.
[00:37:51] Speaker A: And Duke the destroyer duck is devastated. He's like, I've lost my only friend. And he says and all I got left is his opinion that I could do something with my life. I guess I owe it to you, pal, to put your theory to a test. Oh, and boy, would he.
[00:38:09] Speaker B: Yes.
[00:38:10] Speaker A: And it says, up until now, the life of Duke Duck has been a violent but relentlessly ordinary one. But then he enlists in the Special Forces and becomes basically rambo duck. Yeah, it doesn't say that. I said that.
[00:38:23] Speaker B: Yeah, no, but he basically does. I mean, he goes off to war.
He's just taking out bad guys left.
[00:38:32] Speaker A: And right, and then he becomes the flash duck.
[00:38:36] Speaker B: Yeah.
[00:38:37] Speaker A: Science duck.
[00:38:38] Speaker B: Yeah, science Duck gets his degree.
[00:38:40] Speaker A: Academia gets his degree. And then he looks like he's a professor.
[00:38:44] Speaker B: I believe so.
[00:38:45] Speaker A: Became a police officer. It looks like. He's looking like a professor. He's all chilling out in his chair with the big what are those things called in the chair? What kind of wingback chair is that?
[00:38:53] Speaker B: Wingback chair, yeah.
[00:38:55] Speaker A: There you go. Yeah, he's got his wingback chair going on. I love this art, by the way.
[00:38:58] Speaker B: Yeah, that's really good.
[00:39:00] Speaker A: Did I just say I love this art, by the way, about Jack Kirby's pencils?
[00:39:04] Speaker B: Yeah, you did.
[00:39:05] Speaker A: By the way, I love they're really they're really good. They're really good. Think about the duck bills were redrawn, and now I'm dying to get, like, the originals. Yeah. Because I want to duck bills. Right?
[00:39:20] Speaker B: How bad were Jack Kirby's duck bills?
[00:39:22] Speaker A: I don't like it's hard to say. How bad were they? I don't.
[00:39:27] Speaker B: So I'm going to draw you this book about ducks. I really can't draw duck bills. So you're just going to get a duck face and no bill. I don't know.
[00:39:35] Speaker A: I feel like there's some duck bills. Maybe they're not as pronounced as the original duck bills, but you know why.
[00:39:40] Speaker B: He didn't draw a duck bill? Because he didn't get paid, so there was no bill.
[00:39:44] Speaker A: Well, that's fair.
Thank you so much.
I have not read the original, so I'm not seeing the differences.
[00:39:53] Speaker B: Right. Yeah.
[00:39:55] Speaker A: Anyway, well, his friend, the little duck, just walks through his front door. He's like, he can't believe he's alive. He's lived this whole life. His friend disappeared, dedicated his whole life to him. Now there's blood spilling out of him, and he's like, I'm finished, Duke. They opened me up like a gunny sack, poked around inside, and never bothered to sew me back up, says the Great Grave Mallard shudders with rage, and he's like, who. Oh, choke. Oh, my God.
[00:40:23] Speaker B: What?
[00:40:24] Speaker A: He has a Silver Age choke in there.
[00:40:26] Speaker B: Yes.
[00:40:30] Speaker A: Steve Gerber, I love, like, I know you're not alive, but I love you for having this right here. Okay. I think I missed that on my first read through, too. Yeah, we got a choke and a gasp in the next two panels, and we find out that that last night at Ginger's, I vanished out of this world into another spacetime continuum where ducks can't talk and pink primates call all the shots.
This sounds like a story that was told somewhere else.
[00:40:58] Speaker B: Yes, it does. It's very similar.
[00:41:00] Speaker A: Well, it says, I was broke, starving. I signed on with this company, Entertainment Concepts Limited, a division of God Corp, the world's biggest corporation. They said they'd make me a star, exploit my curiosity value. But all they did was humiliate me. They hooked me with promises, got me under contract, and they used me as a second banana to a washed up lounge comic they represented.
[00:41:24] Speaker B: Shame.
[00:41:25] Speaker A: I feel like the word comic is intentionally used there. Yeah.
Well, we find out some more about Godcorp. He says they went off when the novelty of that wore off. They stuck me in a freak sideshow. And when even that didn't draw the crowds anymore, they booked me in a live sex show on Times Square.
[00:41:43] Speaker B: Poor little guy.
[00:41:45] Speaker A: I know. And he's like, I hired a lawyer, tried to get out of my contract, but Godcorp ignored his letters, wouldn't return his calls. And they said, take care of me if I called him off. I said no, so they cut off my income. And then he went back to corporate headquarters and met with Ned Packer, the president of the whole company. And he said it was all a bookkeeper's error. They got confused because he transferred my contract to another division, Medical Concepts. And then they ripped him up.
[00:42:12] Speaker B: Terrible.
[00:42:13] Speaker A: Well, following the internment, Duke's request a leave of absence from the force and undertakes a weird journey across the expanse of man. That sounds familiar.
[00:42:25] Speaker B: Yeah.
[00:42:25] Speaker A: Sounds like a marvel thing. I don't know.
[00:42:27] Speaker B: It does. It does.
[00:42:29] Speaker A: Like the Negative Zone or something.
[00:42:31] Speaker B: The Negative zone.
[00:42:33] Speaker A: Is that what it's called?
No, but he ends what's that thing that Reed Richards always tries to go to?
[00:42:40] Speaker B: Maybe it is Negative Zone.
[00:42:42] Speaker A: Well, anyway, Destroyer makes it in, and he is there in the heart of the city, and he is ready to murder some mean.
[00:42:52] Speaker B: He's got a bag of weapons. He's got everything that he's he's ready for battle. He's rainbow Duck.
[00:43:02] Speaker A: And then we meet a new character named Chumo who's on a payphone. And he's like, what's a payphone? That's a good question. See, in the olden days, or you carried many computers in your pocket. There were these phones that you put money in, and then you could call people.
[00:43:18] Speaker B: No way.
[00:43:18] Speaker A: And they were just kind of hanging out everywhere. Kind of like, if you think about it, scooters. Right. Think about scooters would be but instead of a scooter, there'd be a phone there.
[00:43:30] Speaker B: But you can use your computer in your pocket to make the scooter go.
[00:43:34] Speaker A: Right. But you didn't have a computer in your pocket back then, so you didn't.
[00:43:38] Speaker B: Need a scooter back then.
[00:43:39] Speaker A: Right.
[00:43:40] Speaker B: I see. Okay.
[00:43:41] Speaker A: Only scooters were flying scooters.
Back to the Future, part two.
[00:43:47] Speaker B: Gotcha.
[00:43:48] Speaker A: Yeah. I believe that's a hoverboard. But anyway, this guy named Chumo is calling Mr. Packer and they're like, we're recording you. Yeah, that sounds familiar.
[00:43:58] Speaker B: Yeah, it does sound familiar.
[00:44:03] Speaker A: Chumo's. Like he's in commando attire and he's headed south.
[00:44:06] Speaker B: Looks like a cop.
[00:44:07] Speaker A: Packer looks really he's like, what do you mean? He reminds me of a cop? Bite your tongue, chumo off. Whatever this creature may be, he is not tough. Al Hague is tough. I am tough. A duck is not tough. So they seem pretty confident. And then Ned Packer of Godcorp has basically that chair that I love.
No, this is a new God's chair.
[00:44:34] Speaker B: New God's chair? Yeah. Levitates and floats.
[00:44:38] Speaker A: Yeah. Flying around in the chair. Okay.
[00:44:42] Speaker B: It's pretty cool.
[00:44:43] Speaker A: They launch him off like, yes, sir. And he just launches off through the city. Well, we get some miles east, he shows up and he sees his mom, who's Volpa packer at the battle.
I wonder. So now I'm wondering I'm just wondering who is the small executive who he thinks goes home to see his mom? Right?
That doesn't seem like it would be Jim Shooter to me.
[00:45:12] Speaker B: You don't think so?
[00:45:13] Speaker A: And Jim Shooter didn't necessarily have a great long term relationship with his family.
[00:45:18] Speaker B: Okay, so who could it be?
[00:45:20] Speaker A: I mean, he did, but not like I wouldn't say I don't know.
I could not know. I'm not on the inside, obviously, but I don't perceive as Jim Shooter, like, running home to mom, right? Like he was writing comic books to help fund his family's income at like 13 and 14. So I probably don't see him running off to mom, mommy. When he needs help, mommy.
I don't know. I wasn't on the inside.
So anyway, she's like, that stinking suburban junkie again. How can you associate with people? You're a big man, and I can't even figure out why you'd want to be seen with me anymore. So she's even like, why are you here?
[00:45:59] Speaker B: Why are you here? Maybe it is Shooter.
[00:46:02] Speaker A: He's like, I prefer dealing with people like you.
And then he gets back in his chair and basically he says, all of God Corp's employees and freelancers are junkie's, mother. We encourage that dependent relationship.
[00:46:16] Speaker B: Oh, terrible.
[00:46:18] Speaker A: Self reliance breeds self esteem. I can't read this comic today.
[00:46:23] Speaker B: Jeez.
It seems like the kind of inspirational posters that you see in workplaces.
[00:46:31] Speaker A: Yeah, except self esteem means quitting our jobs and doing the things we like.
[00:46:39] Speaker B: It's Friday for you listeners out there, so we've had a long week.
[00:46:47] Speaker A: How real are they being right now.
[00:46:50] Speaker B: When you're told you can't park your car in a parking lot because there's no parking lot to park your car in, but you're expected to come into work because they want you there, but you can't park there and you have to park seven blocks away and they're telling you barbecue place because no joke. They gave us a map.
So people listening, and we're just going to talk off the side here. Sidebar. So, yeah, no, they gave us a map where to park for our days in the office and on our office days. We're supposed to park like, literally 20 minutes away and then make sure that we have 20 minutes to walk to where we work.
[00:47:24] Speaker A: Well, isn't that probably reach out to the staff of legal Concepts to have that taken care of. You can see on the next page.
[00:47:33] Speaker B: Yeah, I know.
[00:47:33] Speaker A: We get a guy in a Superman outfit, but it has the scales of justice on it and wow, it's pretty awesome.
These, like, attorneys have to be prepared for anything these days if they're in the entertainment legal.
And then we get a crash in, and he meets this duck, and next thing we see is this battle axe lady coming in. Die duck with the giant axe. She's just wrecking.
So these people all work for a packer, though, because it does say he never mind, never mind. He is the good guy. The lawyer is the good guy.
[00:48:20] Speaker B: The lawyer is the good guy.
[00:48:21] Speaker A: Hacks them. Yeah, okay. And she busts into his office, and he's like, Duke, look out. She's one of God corp's assassin squad. And here they go, bang, bang, banging across the street. It's almost like they were on queue for the ratatat of this gun. I appreciate that. And now after he destroys battle axe very quickly, she does not last long. He goes back to the lawyer and he says, now, as I was saying before, if I got the evidence you needed on Godcorp, could you take them to court? He said, what evidence? How? He said, trust me again. Holmes. You don't want to. The lawyer's like, I suppose I can't stop you. Their address is listed in the phone book, by the way. A phone book is a big book full of phone numbers with names and companies, and you open it and you go in alphabetical order, and you find them.
[00:49:11] Speaker B: Okay, cool.
[00:49:14] Speaker A: In a strange turn of events back then, corporations didn't hide their phone number from people and make you contact them through the web site.
[00:49:23] Speaker B: You didn't have to go to the website to try to look for a phone number and then find a phone number. And then it says when you call the phone number, it's not a real phone number because it's just a thing that says, go to the website, and then you go back to the website and it says, call this phone number. And then you go to the phone number and it says, after you call this new phone number, then it says, email this email, and then you email.
[00:49:42] Speaker A: The email number, and you reached a person kind of like the woman on the next page.
[00:49:47] Speaker B: Whoa.
[00:49:48] Speaker A: So we turn the page, and Duke destroyer duck has made it over to the front door of Godcorp, and he busts in looking for Packer and meets Mr. Packer's personal secretary. And his personal secretary says, halt, foul. But I think more important, it looks like her superpowers are super.
Yeah.
He says some people are double jointed some some triple jointed I'm universal jointed.
[00:50:16] Speaker B: Whoa.
[00:50:17] Speaker A: Wow. Well, she takes out Duke, and next thing we see, he's on a giant press. Looks like he's about to be flattened.
[00:50:25] Speaker B: Oh, man.
[00:50:25] Speaker A: And Packer says, and you torched my mother tonight. I'd say, that makes us even. This business and that's referring know, you killed my friend. He's like, you made it even. You would be foolish to throw away a promising career with Godcorp over a paltry matter of principle.
[00:50:41] Speaker B: Paltry or poultry? Because it's a duck.
[00:50:48] Speaker A: Well, and then Packer's like, you possess a strength of character, a killer instinct, while he was utterly lacking. And Duke's like damn straight sleaze ball. And he bites his bonds, he gets out, and it looks like it's going to be packing time for Packer.
[00:51:03] Speaker B: Yep, because he packs him, and he.
[00:51:05] Speaker A: Gets thrown into the press. He is squished, his shoes fly out. We've got a death on panel of the head of Godcorp, and we get next evening in a plush midtown eatery. It says, I've only glanced through the file, duke, that's the lawyer. I've already turned up enough dirt to keep procter and gamble in business till the year 2000, and Godcorp in the courts for a year or two longer. And Duke is like, then let's knock one back for the little guy home. And he says, sniff, cabernet sauvignon 65. The ducks got taste. And it says, Ned Packer is dead, but Godcorp lives on. And though one small battle has been fought and won, the war has yet to begin. If you demand it, the destruction will continue in the future. Issues of Destroyer Duck. Write, to Destroyer Duck. Eclipse Enterprises, 81 Delaware Street, Staten Island, New York. Ten. 304. We better write in so they do more.
[00:52:04] Speaker B: We want more issues.
[00:52:05] Speaker A: Okay. And that wraps up Destroyer duck. Boy, we did a lot on the front end.
[00:52:10] Speaker B: Yeah.
[00:52:10] Speaker A: Lot on the back end with the issue. So we're going to wrap it up here. But before we wrap it up, Greg, I understand that last week I asked you if you could plug a project that had to do with something, with space or something and kids, and I don't even know if I got to say that. And you said, no, I can't talk about it. But then this week, your co author, Michael Tanner, posted it on the Internet, so you must be allowed to talk about it, right?
[00:52:35] Speaker B: We are. We had a conversation with the editorial team as well as the publisher, and, yeah, we can talk about it now.
Yes.
[00:52:44] Speaker A: So you wrote a book called Absolute.
[00:52:47] Speaker B: Zero's camp Launch Pad.
[00:52:49] Speaker A: And it's about it's about a group.
[00:52:51] Speaker B: Of kids that go to a space camp and all the different things that they encounter while they're there. The trials and tribulations of three misfits, if you will.
You can go check out Absolute Zeros Camp Launch Pad and get a full nice little meet the characters, if you will. You get to meet all of our main characters and you get to meet Val, Pete and oh, boy, why can't you put me on the spot? And now I'm spacing on names. Mark and meet all these kids. These are our three mains. And then you get to read a little bit about them. But basically, they are three kids that go to the Space Camp and they genuinely are amazed by all the fun stuff.
[00:53:48] Speaker A: And you can buy a copy of well, you can reserve a copy of this book for purchase on Hashette, right?
[00:53:55] Speaker B: Yeah, you can go to Hashette. It's put up by Little Brown and Einhardt.
[00:54:01] Speaker A: Amazon.
[00:54:02] Speaker B: Yeah. So go to Amazon, go to your local comic book store, Barnes, and that you can do any of those things. If you go to Hashette, there's a list of all the different places that you can do that.
[00:54:13] Speaker A: If you put a preorder, it'll be available on diamond.
[00:54:17] Speaker B: I don't know, I know we talked about that a little bit today, but with the way that Little Brown is putting the book out, because this is their first foray in graphic novels, I'm not sure exactly what their distribution is like and how they're putting it out. So I don't know, because they're not putting it out like a normal comic book, if that makes sense.
[00:54:43] Speaker A: So when we know, we will tell you how to ask your local comic shop for it.
[00:54:48] Speaker B: Yeah, but you can put a reserve at Target, too, because it looks like it might be sharing space with some of those other fun middle reader kid books. But if you have a place in your heart for movies like Space Camp and other things like that, then this might be your jam if you're an adult. Because we definitely pulled from our love for things like that when we were kids.
If you've read Junior Braves and you picked up on the Monster Squad and Goonies vibes, you'll definitely pick up on the Space Camp kind of vibes that we put into Absolute Zeros. And the way that that book is created and the character development awesome.
[00:55:33] Speaker A: And I've been waiting for him to tell me about this, so I didn't even get to know until it came out. So I was in as much of the dark as the rest of you, but it is good to go. And, of course, Johnny. Nonline.
[00:55:50] Speaker B: Joanly. Nonley.
He's john, but he's on the kickstarter. On the kickstarter.
[00:55:58] Speaker A: We'll make sure you have a link for that, too. Check it out. We plugged that one a lot last week, but we've got Absolute Zero.
[00:56:07] Speaker B: Yeah, so check them both out. Put your preorders in for that. Go back and only or share it with your friends. And when we post up stuff about Absolute Zeros, share it out as well, because the more people we get doing pre orders or just being interested in it and like Einhorn Epic Productions has t shirts and stickers available on their website for it. So get your merch, kids.
It's actually pretty cool to see a publisher wanting to push something like this for us, because it's very nice.
[00:56:47] Speaker A: It is very nice. And I would say with that, we're going to wrap up this episode. But also, like we said, you can go out and you can get the Destroyer Duck graphite edition from Tomorrow's Publishing. We highly recommend that too, because there's another great company that supports the comics industry, so we appreciate them. And with that, I guess that's it for today, but we'll be back with some more Destroyer Deck next time. So I anxiously await because I actually haven't read them. Greg's read a few more, but I haven't read any of them. So I am stoked to see what happens to Godcorp and how Duke the Destroyer starts taking more people out.
[00:57:23] Speaker B: I'm just going to say it gets more bonkers than this issue and this episode as the book as the series progresses. It is absolutely amazing.
[00:57:36] Speaker A: Well, it's hard for me to believe that Kirby Art could get more crazy. So with that said, let's get out of here and we will chat with you next time.
Bye.
