This comic is credited text/ art copyright 1984 Matt Howarth. If nothing else, it suggests this story, unlike the lead feature (part two of what gets called elsewhere “The LOOT Caper) is a solo Howarth production. It’s also at least potentially older than the main feature, though not by much. All characters (Ron Post, Savage Henry, etc) credited to Howarth.
Each of the Post Bros stories have a backup, but this one is the most interesting– what we get, in essence, is a series of images, each with some a title that implies the name of the song tat accompanies it on the new Bulldaggers album. One way to read this, I suppose, is to see the Bulldaggers album as a concept album, which here would be about exploring the ruins of a dead civilization (The Hurzog, maybe?). On the sidebar of each image, you’ve got headshots and credits of members of the Bulldogs, telling us who played what instrument on this track.(There’s also a sort of bonus section, doing mostly the same for the five song single that was recorded along with the album, but released separately. Or so I imagine it– think of it as bonus tracks, if that helps).
Honestly, it’s a mindblowingly cool conceit, even if the story itself doesn’t offer a whole lot– there are very cool individual images, showing left behind items of the Hurzog race (toothbrush, vacuum cleaner) and brief, encyclopedic entries about different local species like the Windwhales. The final “track” offers a pithy kiss-off, that breakdancing killed the Hurzog. Not sure what to make of that, except that it must have felt topical at the time.
I’m also unsure what to make of the alien race being called Hurzog. Like Herzog, Werner, the German arthouse director? It’s possible that the alien race and their left behind stuff alludes to Fitzcarroldo, which IMDB tells me was released in ’82, though the name might just be a coincidence.
Really, this whole backup is a mystery to me, but I love it. It implies this whole world– not just the world the Bulldaggers investigate, but also a world of self-created artifacts where Howarth seems to be working on all these different levels– comics and music (he sells tapes in the back of the mag, for Christ’s sake) but also other stories, other music unmade and unheard. It adds, for me now and for the me who read some of this stuff back when it was first produced, to the impression of Howarth as this kind of promethean figure, making more and more art, much more than anyone could actually consume or fully understand. It’s glorious stuff, and maybe someday I’ll have more to say about it than, “Look at that!”