Sgt. Fury and His Howling Commandos - Publication History

Publication History

Stan Lee has described the series Sgt. Fury and his Howling Commandos as having come about due to a bet with his publisher, Martin Goodman that the Lee-Kirby style could make a book sell even with the worst title Lee could devise. Lee elaborated on that claim in a 2007 interview, responding to the suggestion that the series title did not necessarily seem bad:

It did at the time. First of all, it was too long for a title — we didn't have any that were six words. And "Howling" was a long word, and "Commandos" was a long word. I got the name "Howling Commandos" because in the Army there was a group called the Screaming Eagles. And I loved the sound of that. So I figured we'd have the Howling Commandos.

Comics-artist contemporary John Severin recalled in an interview conducted in the early 2000s that in the late 1950s, Kirby had approached him to be partners on a syndicated, newspaper comic strip "set in Europe during World War Two; the hero would be a tough, cigar-chomping sergeant with a squad of oddball GIs — sort of an adult Boy Commandos", referring to a 1940s wartime "kid gang" comics series Kirby had co-created for DC Comics.

Sgt. Fury and his Howling Commandos followed an elite special unit, the First Attack Squad, nicknamed the "Howling Commandos," which was stationed in a military base in England to fight missions primarily, but not exclusively, in the European Theatre of World War II. Under Captain "Happy Sam" Sawyer, Fury was the cigar-chomping noncom who led the racially and ethnically integrated unit, unusual for the time. Even in the early 1960s, Lee was obliged to send a memo to the color separator at the printing plant to confirm that the character Gabe Jones was African American, after the character had appeared with Caucasian coloring in the first issue.

The series ran 167 issues (May 1963 - Dec. 1981), though with reprints alternating with new stories from issue #80 (Sept. 1970), and only in reprints after issue #120 (July 1974); at this point the formal copyrighted title in the indicia, which had been simply Sgt. Fury, was changed to match the trademarked cover logo, Sgt. Fury and his Howling Commandos. Following seven issues by creators Lee and Kirby (who returned to collaborate on #13 and on the opening and closing pages of #18), penciller Dick Ayers began his long stint on what would be his signature series, penciling 95 issues, including two extra-length annuals. John Severin later joined as inker, forming a long-running, award-winning team; he would, additionally, both pencil and ink issues #44-46. The series' only other pencilers came on one issue each by Tom Sutton (which Ayers said was "done that time I asked for a furlough and reassignment") and Herb Trimpe ("They shuffled Trimpe and me around, to Fury and and Severin to Hulk" Ayers recalled.)

Roy Thomas followed Lee as writer, himself followed by Gary Friedrich, for whom this also became a signature series. Ayers said in 1977, "Stan Lee left Fury first to Roy Thomas because the superheroes were gaining in popularity at that time it was best he concentrate on them," referring to the young Marvel's then growing line of superhero comics, such as Fantastic Four and The Amazing Spider-Man. "I must admit I resented somewhat those superheroes taking Stan away from Fury!

Friedrich began as a co-scripter of issues #42-44 (May–July 1967). The Friedrich-Ayers-Severin team began in earnest, however, with #45 (Aug. 1967), the first of what would be several of the series' "The" stories: "The War Lover," a shaded exploration of a trigger-happy soldier and the line drawn, even in war, between killing and murder. Daring for the time, when majority public sentiment still supported the undeclared Vietnam War, the story balanced present-day issues while demonstrating that even in what is referred to as "a just war", a larger morality prevails. As one writer in the 1970s observed,

...Sgt. Fury #45 took a firm moralistic stance for the rest of the series by premiering what would become one of the most acclaimed series of stories in comics: the Gary Friedich "The" series, beginning with "The War Lover". ... Future stories in that fashion — all but one written by Friedrich — would center on what war could do to "The Assassin" (#51), the tragedy of a man turned hired liquidator, his family held hostage by Hitler's Gestapo; "The Informer" (#57), an observation on loyalty and trust, staged in a German P.O.W. camp; "The Peacemonger" (#64) ; "The Deserter" (#75), an allusion to the real-life execution of Private Eddie Slovik; "The All-American" (#81), Al Kurzrok's tale of a man between the twin microcosms of sport and war; and ultimately, "The Reporter" (#110), an account of a journalist faced with the when might a human life be forfeit? Many feel, also, that #46's tale, "They Also Serve", should be included ... for that story might as easily have been called "The Medic"....

At his best, Ayers' art in Sgt. Fury showed "a clear, forthright storyteller, excellent in medium close shots with a subtly out-of-focus background. He blended large panels with thin or small ones for movement, and often provided vast, cinemascopic panoramas for his writers to work with.... ven in a scene that would ordinarily be static you could feel his characters breathing." Inker Severin "took the art even further, laying dark, scratchy inks" that gave grit to Ayers' pencils. Ayers himself "liked the results of John Severin's work on Sgt. Fury immensely," he said in 1977. "He added details beyond what I'd put in. He always seemed to go one step beyond."

Friedrich continued through #83 (Jan. 1971), with the late part of this run having reprint issues alternating with new stories. He returned for the even-numbered issues from #94-114 (Jan. 1972 - Nov. 1973).

Sgt. Fury ran concurrently with two other, short-lived Marvel World War II series, Capt. Savage and his Leatherneck Raiders (later titled Captain Savage and his Battlefield Raiders), which lasted 19 issues from 1968–1970; and Combat Kelly, which lasted nine issues from 1972-1973. The Howlers guest starred in #6 and #11 of the former series, and #4 of the latter.

The final issue, #167 (Dec. 1981) reprinted the first issue.

Seven annual publications appeared, the first titled Sgt. Fury and his Howling Commandos Special King Size Annual #1 (1965), and the remainder titled Sgt. Fury and his Howling Commandos King-Size Special #2-7 (1966 - Nov. 1971), with hyphen and sans "Annual". The final three contain reprints only, save for a 10-page framing sequence in #6. In annuals #1 and #3, the Howlers reunited for a special mission each in the Korean War and the Vietnam War, respectively; annual #2 found them storming the beaches at Normandy on D-Day in 1944, and annual #4 was a flashback to the Battle of the Bulge.

One latter-day story was published in Sgt. Fury and his Howling Commandos #1 (July 2009), as the cover logo read; its copyright indicia read Sgt. Fury & His Howling Commandos One-Shot #1. The 32-page story, "Shotgun Opera", was by writer Jesse Alexander and artist John Paul Leon.