Howard the Duck 26 (July 1978)

Howard the Duck #26 Well… last things first. Winda gets assaulted and Gerber shucks it off page. After her startling–and entirely unnecessary–attack, Gerber just mentions her in Howard’s summing up of the issue’s misadventures.

Most of the comic involves him running around with the Circus of Crime and how he gets away from them. Gerber, Colan and Janson do a rather good human drama subplot too, which one of the Circus’s victims drunkenly reacting.

But then Gerber ties it all together and there’s not enough room to do it in scale so Colan is left to rush through it. And if anyone is going to do reaction shots instead of action shots, Colan should be the one to do them; he gets a lot of energy in them. It still feels like an unsteady issue. Gerber has enough story for two issues or at least one and a half.

It’s mostly good.

CREDITS

Repercussions…!; writer, Steve Gerber; penciller, Gene Colan; inker, Klaus Janson; colorist, Janice Cohen; letterer, Irving Watanabe; editors, Jim Shooter and Gerber; publisher, Marvel Comics.

Howard the Duck 25 (June 1978)

Howard the Duck #25 Well, Bev’s back this issue and… Gerber has her and her new husband getting it on. He plays it for laughs, starting with Bev complaining about being stuck in a square marriage like her mother’s and ending with the creatures of Bong’s island peeping on them.

So it’s kind of like if Sue married Doom to save Reed and then was happy about it. It’s weird.

Meanwhile, Howard’s other pals are back (after ten issues, which is way too long), and they’re hanging out in New York society.

The issue’s okay enough. Howard’s no longer the lead in his own book–not sure why Gerber thought Paul Same, failed artist, was better than Howard the Duck for a story protagonist; not much of Gerber’s moves this issue make sense.

With the Colan and Janson art, however it’s hard to get too upset. Like I said, it’s okay enough, just not special.

CREDITS

Getting Smooth!; writer and editor, Steve Gerber; penciller, Gene Colan; inker, Klaus Janson; colorist, Janice Cohen; letterer, Irving Watanabe; publisher, Marvel Comics.

Howard the Duck 24 (May 1978)

Howard the Duck #24 I have a lot of fundamental problems with this issue of Howard the Duck. I don’t mind it being great, but I don’t like how Gerber’s not just able to get away with finally addressing the Bev situation he’s also able to get sympathy from it. The effectiveness of Howard walking the streets sad is incredible. It’s an introspective look at how the character works. Gerber’s laying it all out for the reader to examine.

It’s amazing. It’s an amazing comic book. And I don’t like how Gerber’s able to get away with it. Just because he can get away with it doesn’t mean he should. It’s frustrating.

Howard the Duck–with its realistic Colan pencils (with Palmer inks, natch)–is all of a sudden Henry Miller the Duck and it’s awesome. Gerber sells it all. He even gets to a truly great soft cliffhanger.

Frustrating or not, it’s phenomenal.

CREDITS

Where Do You Go — What Do You Do — The Night after You Save the Universe?; writer and editor, Steve Gerber; penciller, Gene Colan; inker, Tom Palmer; colorist, Janice Cohen; letterer, Joe Rosen; publisher, Marvel Comics.

Howard the Duck 23 (April 1978)

Howard the Duck #23 Leave it to Steve Gerber to do the impossible here. Wow. He takes this peculiar story arc (which ties back to Howard’s first appearance and ignores everything else in the series so far) and throws in these (intentionally) painfully obvious Star Wars references and then goes loose with it all.

The result is a good Spaceballs. The result is the perfect mix of subversive material, mainstream gags and storytelling intelligence. The comic’s called Howard the Duck and the duck’s been paddling around in a circle. Why’s Gerber do it? To make the return to him here work. It’s a strange thing–this issue is so tied to the previous one, it might have worked better as a single issue. Maybe double-size.

Because this comic–with gorgeous Mayerik art (wonderful depth)–is amazing. It’s “space humor” done better than anyone’s done it since or before. Even Dark Star.

It’s magnificent.

CREDITS

Star Waaugh; writer and editor, Steve Gerber; artist, Val Mayerik; colorist, Janice Cohen; letterer, Irving Watanabe; publisher, Marvel Comics.

Howard the Duck 22 (March 1978)

Howard the Duck #22 I’m not sure Howard is back on track so much as Gerber has found someplace to take it. The existing narrative of the series is on hold; this issue continues Howard’s first appearance (and death) over in Man-Thing. Now he’s back with Man-Thing, Jennifer Kale (Man-Thing’s blondie girlfriend), a blond Conan and an old wizard. His mission, save the universe.

In a very Star Wars fashion. It’s a little weird to see Gerber so obviously–and appreciatively–aping Star Wars at the same comic book company printing a monthly Star Wars comic book. Maybe Howard would have had legs as a zeitgeist parody, but it’s only because Gerber brings such personality to the homage.

Val Mayerik is back on pencils, which is cool, especially given the integral Man-Thing guest appearance, which works so well because it’s got Gerber writing it.

It’s a solid issue. Real solid.

CREDITS

May the Farce Be with You!; writer and editor, Steve Gerber; penciller, Val Mayerik; inker, Bill Wray; colorist, Janice Cohen; letterer, John Costanza; publisher, Marvel Comics.

Howard the Duck 21 (February 1978)

Howard the Duck #21 It’s a better issue than the recent norm, but Gerber still doesn’t have Howard on much of a path. At one point, Howard all of a sudden seemed like the perfect cultural relic from the Carter presidency, but it’s not.

Instead, it’s like Gerber is showing how much he can abuse the reader as far as the plot is concerned. Howard meets up with Beverly Switzler. Not Howard’s Beverly, but her uncle. What a joke. Gerber gave a fat dude Beverly’s name and ran him into Howard.

I’m not sure if the series has just gotten too tame (this issue has Howard battling the nicest, most likable murderous cult leader ever–one who even gets sympathy from the reader when Howard’s being sexist) or Gerber’s just lost interest.

But, it’s a better issue than usual. Carmine Infantino guest pencils. He and Janson are a neat team; contrasting while still complimenting.

CREDITS

If You Knew Soofi…!; writer and editor, Steve Gerber; penciller, Carmine Infantino; inker, Klaus Janson; colorist, Glynis Wein; letterer, Irving Watanabe; publisher, Marvel Comics.

Howard the Duck 20 (January 1978)

Howard the Duck #20 I’m seeing the problem with Howard. Gerber is refusing to get Howard into a comfortable situation at all. Bev is still out of the picture, but so is the new girl. Bong is even out of the picture. Howard just happens into an entirely new situation with a new supporting cast.

The problem isn’t the fluidity, it’s how little Howard cares about it all. He’s not worried about Bev being married to a Doctor Doom knock-off, he’s curious why said knock-off isn’t more enthusiastic about her. Gerber doesn’t acknowledge Howard isn’t enthusiastic enough about her. It’s weird.

The comic is nearing its two year mark and Gerber himself only seems enthusiastic about one thing–treading water as far as Howard’s character development goes. It’s stopped. But so has the plot development.

It’s too bad because Colan and Janson knock the art out of the park on this one.

CREDITS

Scrubba-dub Death!; writer and editor, Steve Gerber; penciller, Gene Colan; inker, Klaus Janson; colorist, Janice Cohen; letterer, John Costanza; publisher, Marvel Comics.

Howard the Duck 19 (December 1977)

Howard the Duck #19 Howard’s adventures as a human continue, but Gerber sets him down a particular path. Howard ends up at the Port Authority Bus Terminal, which puts him in contact with a particular set of humans and maybe not the most interesting ones.

After a certain point–Howard is back in a hippy girl’s apartment–one has to wonder if Colan really just wanted to try out drawing someone doing yoga; the issue’s mostly talking heads, mostly Howard (the human) unable to understand the human condition while his fowl alter ego eggs him on to act more ducky. Sorry, couldn’t resist.

It’s really depressing stuff, actually. Gerber, Colan and Janson capture the misery in the bus terminal–Howard teams up with a homeless guy refused a seat in a coffee shop due to smell. The dysfunctional hippies are actually a mood booster in contrast.

The finale’s small joy is a big help.

CREDITS

Howard the Human!; writer and editor, Steve Gerber; penciller, Gene Colan; inker, Klaus Janson; colorist, Phil Rachelson; letterer, Irving Watanabe; publisher, Marvel Comics.

Howard the Duck (1976) #18

Howard the Duck 18

Bong’s still a dumb villain, but the rest of the issue is strange enough to get it through.

While Bev is off getting married to Bong, Howard has been changed into a human and is escaping Bong’s castle in the company of a duck-girl, one of Bong’s other experiments.

The early highpoint of the issue is Gerber retelling the end of Bride of Frankenstein, only with Howard as the Bride and duck-girl as Boris Karloff. It’s a cute little homage and Colan and Janson do a good job of it.

They also do a good job of Bev’s stupid subplot with Bong (even though Gerber does occasionally give her good stuff to do). They also do a rather good job with Howard as a human. Colan doesn’t go for humor with it, he goes for how a human Howard would really appear.

It’s a good comic… just good.

Howard the Duck 18 (November 1977)

Howard the Duck #18 Bong’s still a dumb villain, but the rest of the issue is strange enough to get it through.

While Bev is off getting married to Bong, Howard has been changed into a human and is escaping Bong’s castle in the company of a duck-girl, one of Bong’s other experiments.

It’s a good comic… just good.

CREDITS

Metamorphosis; writer and editor, Steve Gerber; penciller, Gene Colan; inker, Klaus Janson; colorist, Janice Cohen; letterer, Irving Watanabe; publisher, Marvel Comics.