Category: Marvel

The Bronze Age Cometh! The Amazing Adventures of Killraven

Amazing Adventures #18-39

Marvel Comics, 20-30 cents, 1973-76

#18-20

Hot on the heels of a fury of fantasy heroes such as Tarzan and Conan the Barbarian, Roy Thomas looked for further ways to expand this non-powered concept of heroes. Taking H.G. Wells’s noted novel War of the Worlds and morphing it into a post apocalyptic action series based on the Martians second visit to earth, they’ve totally subjugated mankind, made them slaves, as well as use humans in genetic experimentation to further their goals of dominance.

In the introduction, he creates Killraven, a spectacularly successful arena fighter who’s a rebel with a secret even he doesn’t know. He gives the adventure proceedings a new coat of paint as it were, unique from its fellow fantasy comics brethren.

The first issue, written by Thomas, has some good establishing art by Neal Adams. Good with depicting action and distinct likenesses, Adams immediately gives the series an oomph that would have been difficult for a lesser artist. He makes the first story very successful, establishing the cast and world in a visually exciting manner. Sadly, Adams isn’t available afterwards, but Howie Chaykin steps in admirably. While he isn’t the draftsman Adams is, his forte with fantasy based themes, as well as exotic costuming make this a still interesting read. Continuing in this schizophrenic creative vein, Gerry Conway and Marv Wolfman step in for scripting chores on the next two issues, keeping the action going from what I assume is Thomas skeleton for the series. Regardless, the proceedings are still on track, probably saying more about the method of Marvel comics production and its in-house talent pool at the time than anything else. Don McGregor takes over as the series regular writer next issue.

#21-24

The next four issues feature new regular artist Herb Trimpe. While McGregor’s prose displays an inspired attack, the strip goes more into irony and commentary on the human condition. Whether it’s deadlines, or budget(?), Trimpe’s art gets more and more rushed from the first issue, and by the last two, story content is reduced to 15 pages per issue, with golden age monster reprints filling the book(ugh!). While he’s not able to get past flat, stereotypical characters, the divorce from Marvel reality helps enormously, and the series becomes more a treatise on mankind according to McGregor’s philosophy. The mere 20 cent cover price makes it a bargain compared to the majority of Marvel’s output of super schmucks. Hope the new to comics Rich Buckler’s art next issue can elevate it…ooh, Klaus Jansen inks, too!

#25-28

Well, after the totally underwhelming run of Herb Trimpe on art, newcomer Rich Buckler does a fill in on issue 25, and the possibilities of the book begin to show a bit as it starts to evolve. While Buckler’s figure work is a bit wonky, his emulation of both Kirby and Neal Adams add an excitement to the proceedings that wasn’t there before. The next issue is another fill in by Gene Colan, of all people; he gives this episode a dark melancholy that helps demonstrate McGregor’s story emphasis. This schizophrenic approach to visuals,-(hey, who’s got time to do a Killraven issue?), and the continued use of a mere 15 pages to tell a one off, really hurt McGregor’s strengths in trying to make his point. On one hand, he’s got bigger fish to fry, but can’t do it in 15 pages AND perform the dynamics that Marvel comics demand (editorially, I assume).

Then in issue 27, Craig Russell arrives. Two things happen that make this story work so much better than than the entire previous run. One, Russell’s art is fully ensconced in the romantic and social depths that McGregor’s writing has desperately needed a visual partner for, and Russell’s chops are up to the task. Second, he is able to turn this into a two parter, utilizing 30 pages to tell the entire story, and give it the space and length it needs to be convincing. Killraven’s band here is also given the room necessary to develop their one dimensional depiction so far, and begins turning them into genuine people. The best story of the bunch thus far, both in writing and in physical depiction.

#29-34

McGregor and Russell totally fooled me here. While last issue provided a satisfactory end to the Death Birth Citadel story, this next issue picks up mere minutes from the end of the last, making this project not one of several short stories, but evolving into a continuing narrative, really without a concrete end from issue to issue. I notice as well that Russell not only does pencils and inks, but has been doing the coloring for the last two issues as well. If creators were trying to transform this into quite possibly the most ambitious workload as possible, this comic is able demonstration of it.

Russell’s art complements McGregor’s prose perfectly. While it can be argued McGregor bites off more than he can chew in his socially conscientious narrative, Russell’s art is equal to the task, providing the needed checks and balances, elevating a mere post apocalyptic tale into what can be said is as close to a work of art as Marvel could ever publish.

But commercial publication schedules will have their way, and this one provides more casualties than just McGregor and Russell, as issue 30 provides a frickin reprint of the Herb Trimpe story we just read a few issues ago, Killraven not an old enough property to have enough history of reprints to choose from, so this one is bookended by some character pages by Russell along with a couple of pages of the main villain reiterating what we pretty much knew. Whoop, wait, the character pages provide a couple of tidbits fleshing out some facts hereto unknown about the characters. But otherwise, ugh, pass.

Issues 31 and 32 get things going again, solidifying the continuous narrative McGregor is pursuing, with little advancement in plot, but it doesn’t seem to matter. At this point, Killraven’s story with his crew isn’t about the quest, but more about McGregor’s disillusionment with humanity and its self destructive path. One that the Martians have not only finished, but provide a inevitable exclamation point for. #32 emphasizes this, putting Killraven and his buds into a prewar amusement park that caters to the dreams of the freemen, showing in its conclusion the futility of man’s selfish goals in the first place. These nihilistic threads are balanced by Russell’s exquisite art, giving hope in the form of beautiful fantasies for the freemen. By this issue, he has mercifully given up coloring and handed over inks to the excellent Dan Adkins.

Of course, after two mere issues of overwhelming craft, we fall victim to another fill in. This one written not by McGregor, but Bill Mantlo and drawn by the ever present Herb Trimpe. This issue stands out as a sore thumb scheduled as a fill in, the editor knowing by now this will be the norm. However, astute readers will notice this one should have appeared after next issue. The story itself? Well, let’s just say this. While it was originally published in ‘75, it lands with a thud as perhaps the most graceless way to offer a sliver of continuity with a writer that had little idea of the narrative McGregor is working toward here. Also, even in 1975, this had to come off as fairly racist in its idea and execution. Now it seems little more than a horrible embarrassment in the annals of comic publishing history.

While #33 is pretty jarring in its near complete train wrecking of the series flow, with #34, our intrepid duo manage to right the ship again with perhaps the end(?) of the current storyline, and their ultimate battle with the toughest villain of the series. McGregor provides dramatic sacrifice for his characters, and Russell gives the proceedings a convincing display of an epic finish. War of the Worlds comes full circle here, transforming its narrative of basic action comic into something mainstream comics hadn’t seen before.

#35-39

And here you have it. The final five issues of Amazing Adventures featuring Killraven complete his saga, in a more or less satisfactory manner. The deadlines for the book have at this point convinced McGregor and Russell to limit themselves to more modest, single issue stories, or perhaps McGregor has decided that format suits his needs better. The aim of each issue seems better off for it, primarily since this was a bimonthly comic.

#35 features Jack Abel inks, perhaps the best work I’ve seen by him, no doubt guided by the tight pencil work of Russell. Sonny Trinidad embellishes #36, and #37 has Abel back again, all to satisfactory ends. Each issue’s themes work very well in the 18 page chunks, suggesting McGregor has a bit more of a handle on how to approach his stories. There’s also a nice balance between attempting to tell a story, with the metaphorical flourishes still there, just reigned in somewhat by conventional story standards, and perhaps the better for it. At last, the series, while not as ambitious now, has started to gel somewhat.

#38, being one of those shoehorned in fill ins, features for some strange reason another script by Bill Mantlo, I guess because he did the first fill in. While not as offensive as the first, retreads a theme McGregor has already covered, and is clunkily drawn by Keith Giffen (in his first published work?), whose Kirby influences only hurt his cause, both in terms of the utterly graceless figure drawing, and some pretty insufferable page layouts. Once again, you can pass on this one.

#39, the final issue, has McGregor and Russell depicting what they seem to know would be their last; they made sure they got it done in time for publication, with Russell inking his own work, but in a more simple, flowing style, showcasing what would later become his signature traits. McGregor, for his part, realizes there’s absolutely no way to tie up or finish his plot threads, and avoids them entirely. While visually looking a bit rushed, it’s nice they were at least able to go out on their own terms.

In hindsight, it seems inevitable this series wouldn’t make it commercially, as I can’t imagine the young male audience (for the most part, I presume), having the patience for the all over the place storytelling, and the artistic level set up by the creators here far too labor intensive and prose heavy to keep it them entertained, as well as on schedule. While Killraven never quite grabs you on a personal level (its characters being pretty much vehicles for McGregor’s main interests), the series remains a piece of Marvel Comics history that shows an experiment, that while never standing a chance under the systems it inhabited, at least a demonstration of what could be in commercial comic books.

A smoother read of this series would be pretty much the first couple of issues for set up (#18 & #19), skipping to #25 & #26, the semi successful fill ins, #27 is where Russell comes on board, skip 30 with the reprint, read #31 & #32, skipping the abominable issue #33 fill in, picking it up again at #34-37, skipping the sad issue #38 fill in, and end with the somber finish of #39. This order of experience will give you an uninterrupted, more pleasing read of the series, unencumbered by the commercial necessities of deadlines and interruption of mainstream hack work.

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Stewart the Rat (November 1980)

Stewart the ratStewart the Rat is a depressing book to think about. Writer Steve Gerber had just been fired by Marvel from his masterpiece Howard the Duck, and his career was in a time of transition. Fans of the duck could look to this book as a supplemental substitution, though they would have had to know about it specifically to place a special order with their direct market comics shop – neither this nor anything else by independent publisher Eclipse Enterprises would be showing up on the newsstand next to the latest Rom the Space Knight or Master of Kung Fu. Non-fans of the duck were still forewarned by the front cover, in horror film red-on-black Courier font, that this was “By the creator of HOWARD THE DUCK.” Even if you’d never heard of Howard, you’d know this book was something off-brand. Something that should not be. An aberration from a proven success, born either out of necessity or sheer desperation.

Eclipse Enterprises was, at least according to Wikipedia, the first publisher of graphic novels although that term hadn’t yet been coined. Stewart the Rat is only 44 pages but with its magazine-sized European “comic album” dimensions and stiffer, heavier paper stock it feels a little more important, but still takes no longer to read than an issue-and-a-half of classic Howard. The higher quality paper is actually a nuisance. The pages don’t turn as easily as a normal comic and feel as though they could be bent irreparably if you held them too carelessly. The spine cracks like gingerbread every time you open it. The prestige format makes you feel burdened if all you want is some more Howard the Duck adventures by your pals Steve Gerber and Gene Colan.

Gene Colan’s art, with assistance by Tom Palmer, is typically masterful but suffers from being in black and white compared to the lush coloring his work was receiving at Marvel, except for the de-evolution of Howard into a black and white magazine after Gerber’s firing – but that magazine’s art had better rendering as well as more pages per issue than Stewart.

The most exciting experimentation Gerber uses with the larger, more ostentatious format is getting textual as well as meta-textual, by opening with a lengthy prologue explaining Stewart’s origin story from the perspective of Stewart himself. This part is so well written it actually overshadows the rest of the experience, leaving you wondering what a full length novel by could have been. Echoing the mutation of Gerber’s funny animal id from duck to rat, Stewart begins his existence as Stewart Dropp, a human being (and dead ringer for the author) who unexpectedly dies a grim death (the text is his murder-suicide note) and leaves behind a giant rat who can walk and talk thanks to an infusion of the human Stewart’s own genetic material. In a strange way this prefigures Alan Moore’s reinvention of Swamp Thing as a pure swamp-creature born of human influence, rather than of human origin. Disappointingly, the details of Stewart the Rat’s creation never come back to play any role in the overall story, its just Gerber flexing other creative muscles to set the narrative in motion. Stewart may as well have stayed Of Unknown Origin.

The titular rat’s adventure is, unsurprisingly, a Howard the Duck type of adventure. He winds up in Los Angeles, rather than Howard’s usual Marvel Comics haunt of New York, where he meets a Beverly Switzler surrogate, Sonja Lake, being menaced by a Doctor Bong surrogate named Wayne Fossick. Gerber himself had gone Hollywood irl, working on Thundarr the Barbarian for television, and makes many informed jibes at Los Angeleno culture. The villain Fossick is the best part of the book, possibly the best villain Gerber ever wrote – the ultimate purveyor of New Age claptrap, L. Ron Hubbard by way of Charles Manson. His made up self-help jargon and speeches are both hilarious in their parodies of Werner Erhard platitudes, and dizzying in their hip, banal nihilism. It could have been a great arc for a couple issues of the duck; Beverly goes to LA and Howard has to save her from this megalomaniac. Instead we have these surrogates who barely have enough pages to be characterized before the action starts. In emulating but not distinguishing this creation from his similar, previous comic hero, Stewart can’t help but constantly remind the reader of Howard, especially with the Colan art. There are swears, and tiddies, but Howard the Duck never needed either to be great and Stewart doesn’t gain anything from them either.

Gerber would embrace the absence of Howard and comment on it directly a couple years after Stewart with Destroyer Duck, before sneaking Howard into his run on Sensational She-Hulk some years later and eventually getting to make the denouement on his creation with a Howard the Duck MAX mini-series in 2002 – where he was, incidentally, transformed into a mouse as a commentary on Disney’s lawsuit against Marvel claiming that Howard’s design copied Donald. Ironically, this scandal preceded Stewart. It’s not polite to speak for the dead but I’d like to think if Gerber ever saw what Chip Zdarsky has done with the character recently, he’d kick his smug hipster teeth in.

Stewart the Rat is easily recommendable to any dedicated Steve Gerber fan, but Howard fans may find the experience slightly melancholy. The world conjured up for this relatively slim volume is a hollow one, existing only under because of the author’s frustration over not being able to tell the story using his preferred cast of characters. Stewart was ignominiously born, briefly lived, and quickly abandoned by his creator, who always preferred the company of waterfowl to rodents.

CREDITS

Stewart the Rat; writer, Steve Gerber; artists, Gene Colan and Tom Palmer; letterer, Tom Orzechowski; publisher, Eclipse Enterprises.

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Fearful Symmetry: Kraven’s Last Hunt (October-November 1987)

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I remember when Kraven’s Last Hunt came out. I was eight or nine. Marvel advertised it something fantastic. I was a regular Spider-Man reader, but mostly from collections and it wasn’t like there were a lot of collections in the late eighties. Almost thirty years later and I still can’t think of a better Spider-Man story, not an eighties or later one.

J.M. DeMatteis writes Hunt for new and regular readers, which is in itself a little strange. When I think about eighties comics, Marvel and DC alike, it was always very hard to jump on. But in Hunt, Spider-Man had just gone through a lot of unusual publicity–he’d gotten married–and the story immediately follows the wedding. It was also a cross-over between the three Spider-Man books, which might have been a new thing? I can’t remember.

So, in other words, DeMatteis is working a lot on character. He’s introducing not just the guest stars–Vermin and Kraven–he’s also introducing the regular cast, as he needs them for this story. Peter and Mary Jane are going to have a very rough six issues and DeMatteis forecasts it. When it seems like he’s hit the limit on foreshadowing, he pushes further because he’s trying to make sure the reader knows what’s coming.

And the relationship with the reader is important. DeMatteis wants a lot of trust–he wants to jump around in place, he wants to use a whole bunch of narration–Kraven, Spider-Man, Mary Jane, Vermin–Last Hunt is ambitious. For an eighties Marvel comic, it’s through the roof ambitious, but it’s ambitious in general because DeMatteis is treating Spider-Man as the icon.

Even in the black costume, he’s an icon. I think he was just still wearing the black costume (and might eighty-six it as a direct result of this storyline), but DeMatteis uses it to establish what makes the character. It’s not hard to do a good Spider-Man story and it’s sometimes not even hard to do a better than good one, but it is hard to do an ambitious one.

DeMatteis succeeds in no small part thanks to Mike Zeck’s art. Last Hunt isn’t fantastical, it’s realistic, it’s depressing, it’s scary. DeMatteis and Zeck have a story about four people who are afraid, all the time, all to varying degrees. They’re afraid of themselves, of each other, of the world. It’s awesome.

I haven’t read the comic in ages; it holds up really well.

CREDITS

Writer, J.M. DeMatteis; penciller, Mike Zeck; inker, Bob McLeod; colorist, Janet Jackson; letterer, Rick Palmer; editors, Jim Salicrup and Tom DeFalco; publisher, Marvel Comics.

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Howard the Human (October 2015)

Howard the Human (2015) 001-000This one-shot, like so many, is a thought experiment. Howard’s creator Steve Gerber already did the titular gimmick back in Howard 19 of making him human for an entire issue, demonstrating it’s not the vessel, but the person inside who matters. He also turned Howard into a mouse during his 2001 Marvel Max mini-series official return to the character, just to prove this point after his own creation had been wrested away and humiliated by the likes of George Lucas and Disney. Given Chip Zdarsky’s utterly lackadaisical Howard reboot that Marvel squeezed out earlier this year, could another, better writer restore him to some kind of Steve Gerber-esque integrity?

Well, no. In Howard the Human, Marvel’s new “Howard” is stripped of the superficial resemblance to his avian self (and by corollary, stupid duck-related puns) and becomes solely what the company ultimately regards him as: a cipher for the Marvel Universe all-star parade of cameos by characters who’ve proven profitable in live-action. Skottie Young’s story isn’t even poorly constructed; he’s apparently a good writer as evinced by I Hate Fairyland, of which surely no coincidence is another stranger-in-a-strange land tale. The issue opens with some corporate diarrhea about this particular story’s connection to the new “Secret Wars” / “Battleworld” “event” which presumably explains why Howard is still a private detective but now a human being in a city full of talking animals (“New Quack City” – is Marvel’s target audience supposed to get a blaxploitation movie reference from 1991?) This world also hosts talking animal versions of the Black Cat, Daredevil and the Kingpin, and Howard is entangled in a blackmail/murder frame-up between them. Because what are you going to do, make a Howard story about Howard? If Zdarsky didn’t, why should Young?

I hadn’t even realized until reading this comic that Howard’s recent reboot doesn’t allow him to smoke his beloved cigars anymore. Because CHILDREN might be reading these things, and it would jeopardize all of Marvel’s anti-tobacco advertising dollars. Yet in the opening scene he’s pounding down shots in a bar. Zap! Pow! Comics aren’t just for kids anymore!

Jim Mahfood, who presumably emerged out of the same cryogenic stasis capsule from the 90s that released Jhonen Vasquez, does his Jim Mahfood-y thing on the art and does it well. Justin Stewart’s coloring compliments him perfectly. They’re actually really good choices for the funky 70s vibe the story is aiming towards.

Still, waaagh.

CREDITS

Howard the Human; writer, Skottie Young; artist, Jim Mahfood; colorist, Justin Stewart; letterer, Travis Lanham; editor, Jon Moisan; publisher, Marvel Comics.

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Howard the Duck 5 (October 2015)

howard5Oh look, Chip Zdarsky crapped out enough Howard issues for the first trade. Andrew did a good job taking the relaunch’s debut to task even before reading the original Steve Gerber series, and I would like to add my two cents now as someone who grew up on them and holds Howard very close to my heart.

What Marvel has let happen to Howard hurts, bad. Howard isn’t Spider-Man or the X-Men. He’s not yet another beefcake in colored underwear who’s fought dozens of other pro wrestlers under the auspices of hundreds of writers and artists since 1963, standing in line to be played in live action by a Hollywood prettyboy as part of the Marvel Cinematic Universe thousand-year reich. He’s a unique icon with a very short history. And half that history has been a disgrace because Marvel doesn’t know or care what to do with him. Also sprach Zdarathustry.

I’m not opposed on principle to the series being written by someone other than Gerber. I don’t doubt it could be done competently. However, Andrew’s descriptions from the first issue of the comic as “soulless” and “mercenary” and that “(Zdarsky) doesn’t care” all fit the bill pretty well. “Fit the bill,” by the way, is exactly the level of humor Zdarsky aims for, just so he can acknowledge his own ironically unfunny duck puns. The scripting really does tap into the same vein as the movie, of which Zdarsky has admitted some fondness towards in interviews.

All that a post-Gerber Howard would require to succeed is very simple: a point of view. A writer with an opinion on the world who could use the absurdity inherent in a cartoon duck living amongst us as the ultimate outsider – a minority of one, to quote Gerber’s second issue – and thereby as a mouthpiece for commentary on our own “world he never made.” The big problem with that is that every Marvel property, especially since Disney’s acquisition of them in 2009, is now having every rough edge shaved down in the name of family entertainment. With a few rare exceptions like Deadpool – who has never had a family friendly image – or Guardians of the Galaxy – who were too obscure for close corporate scrutiny – no Marvel movie is going to be about anything except CGI fight scenes punctuated by formulaic melodrama.

The Disney factor is an especially cruel irony for Howard, who was forced in the early 80s to start wearing pants forevermore when the company threatened lawsuit against Marvel for his alleged similarity to Donald Duck. It sounds like a joke, but to quote Gerber just once more,  “Life’s most serious moments and most incredibly dumb moments are often distinguishable only by a momentary point of view.”

James Gunn included a quick Howard cameo in the Guardians of the Galaxy film because, presumably, he was a fan and Marvel didn’t object. Comic books are so marginal compared to movies that this one brief cameo relaunched a Howard comic, like a piece of bait thrown into the waters to perhaps catch some future movie buzz. Apparently Chip Zdarsky took the job solely for the opportunity to write jokes around other Marvel characters because there has literally not been a single issue so far that stars Howard, solo, in his own title. He’s a second banana in his own series to She-Hulk, Spider-Man, the Guardians, Doctor Strange, etc, etc. Just look at the cover. They’re not even pretending to be interested in the titular “star.” The fact Howard is a comedic character has been taken as license to reduce him to a harmless LOLrandomWTF mascot for Marvel, their preferred role for him. He’s cranky, but impotently so. No content, no opinions. He’s a stooge. A eunuch. A sitcom foil for a snarky sitcom version of Marvel Comics.

Chip Zdarsky is very much a talentless sitcom writer at the Big Bang Theory or Family Guy level of glib nerd-pandering pap. Every issue so far abandons whatever the last issue was about to shoehorn in more cameos and banter for short attention spans. Actual exchange from this issue: Mr. Fantastic – “Johnny! What’s the situation?” Johnny Storm – “I said ‘I got this!’ And then I didn’t get this, okay?”

(Laugh track)

I suppose Marvel told Zdarsky at some point early on that, understandably, they’d like to see another book similar to The Unbeatable Squirrel Girl. Squirrel Girl is funny in a way that’s simultaneously sincere and deconstructive of Marvel super hero tropes, incorporating Marvel’s big cast of characters and throwing plucky, carefree Squirrel Girl up against guys like Kraven the Hunter and Galactus. That works for two reasons that don’t apply to Howard: 1) she was created in the early 90s era of grimdark edginess as a deliberately lighthearted counterpoint to industry trends of the times, and 2) however goofy her squirrel powers may be, they are still superpowers. Zdarsky is totally hung up on Howard’s lack thereof, having his cape cameos take endless potshots at his powerlessness. The final insult of this “arc” is Howard’s discovery that his Beverly Switzler surrogate, a tattooed hipster named Tara, actually has superpowers too, and in light of this he happily declares himself her sidekick.

What the everloving duck? (Haha, see what I did there?) (Self-aware conversational parenthetical asides are funny, right Chip?)

Plus, writer Ryan North clearly cares about making Squirrel Girl’s alter-ego Doreen Green empathic. Howard, who is he who is, is too busy sharing page time with the rest of the Marvel universe to have anything resembling a fleshed-out personality.

Joe Quinones’ art, Rico Renzi’s colors and especially Joe & Paolo Rivera’s inks are all nice to look at, though Howard’s tiny-eyed, pseudo-photo-realistic redesign is merely one more indignity. At this point I’ve lost count.

Chip Zdarsky’s Howard the Duck is smug, shallow, lazy, unfunny and disrespectful to the original in every conceivable way. It does for Howard what Space Jam did for Bugs Bunny – makes you wish he could rest in peace rather than be whored out by cash-grabbing hacks.

CREDITS

Super Hero Battle for the Fate of New York and Possibly the World; writer, Chip Zdarsky; artist, Joe Quinones; colorist, Rico Renzi; inks, Joe Rivera with Paolo Rivera, letterer, Travis Lanham, editor, Wil Moss, assistant editor, Jon Moisan; publisher, Marvel Comics.

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Howard the Duck 31 (May 1979)

Howard the Duck #31

What a bad comic. Whether it’s Mantlo’s rhyming of adjectives and nouns, the lamebrain fight scene, Bev’s silly way of resolving her situation–it’s all bad. It’s all bewilderingly disconnected, not just from the series, but from the other elements of the comic. It’s like Mantlo can’t even figure out how to move these characters in relation to one another.

And I want to be positive about it. Like anyone would be in trouble trying to followup Gerber but Mantlo does a bad job. Independent of not being Steve Gerber, he does a bad job. Howard acting like a snarky sitcom character isn’t Howard. He and Bev get together again it’s not even a scene. Regardless of having Colan on the pencils (though Milgrom’s inks weaken quickly), it doesn’t feel right.

Howard’s big adventure ends and it’s not even Howard anymore. It’s a clueless imitation. Marvel Nurse Ratchet’d him.

CREDITS

The Final Bong!; writer, Bill Mantlo; penciller, Gene Colan; inker, Al Milgrom; colorist, George Roussos; letterer, Irving Watanabe; editor, Jim Shooter; publisher, Marvel Comics.

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Howard the Duck 30 (March 1979)

Howard the Duck #30

Al Milgrom inking Gene Colan. And it’s not bad. It looks like Milgrom does a lot of work on Howard’s face–his lines are smoother than everything else–but otherwise, it’s not a bad job inking at all.

Milgrom’s not the only change. Steve Gerber’s gone and Bill Mantlo’s scripting. He changes some details about Howard’s current predicament, immediately removing the complications for Howard and Beverly, and gets going with the adventure.

Howard gets a suit of Iron Man armor to fight Dr. Bong. It’s really dumb and it’s hard to believe it won’t some day end up in a Marvel movie with Robert Downey Jr. doing a $100 million five minute cameo.

At one point in the issue–which is terribly written–Mantlo gives Howard a line about how death is preferable to humiliation. Howard might survive without Gerber, but Mantlo’s humiliating the poor Duck, page after painful page.

CREDITS

If This Be Bongsday!; writer, Bill Mantlo; penciller, Gene Colan; inker, Al Milgrom; colorist, Michele Wolfman; letterer, Elaine Heinl; editors, Mark Gruenwald and Jim Shooter; publisher, Marvel Comics.

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Howard the Duck 27 (September 1978)

Howard the Duck #27

Howard is mad as hell and he’s not going to take it anymore. So what does he do? He stops the Circus of Crime. Why? See the first sentence. Is he mad at the Circus of Crime? Not so much. Is he worried about his friends being hospitalized? Not so much. Does Howard finally admit he’s got deep feelings for that hairless female ape Beverly? Sort of.

Did Marvel just not let Gerber get crazy with Howard’s affections for Beverly? There’s got to be an explanation. Because this issue isn’t just strange–it’s an action comic, one with good art and good dialogue, but an unambitious action comic. And Gerber is usually all about the ambition for what an issue can do.

So when this one doesn’t do much, the mind has time to wonder what else is going on with the comic. Hence my questions.

Though troubled, it’s solid.

CREDITS

Circus Maximus; writer and editor, Steve Gerber; penciller, Gene Colan; inker, Klaus Janson; colorist, Phil Rachelson; letterer, Gaspar Saladino; publisher, Marvel Comics.

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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.

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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.

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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.

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Hawkeye 22 (September 2015)

Hawkeye #22

I can’t even remember when this issue of Hawkeye was supposed to come out. I can’t even remember what issue twenty-two was supposed to be when the comic was going to alternate Kate and Clint and then didn’t because… well, I don’t really read the letter pages but I assume people got too busy.

And Hawkeye didn’t sell well enough after a while, which doesn’t make sense, since a lot of the comic is great. And this issue is great. It’s a great last issue. It doesn’t just bring Kate back to it, it integrates her adventures away from Clint. It sets up for a great sequel and there can’t be one.

So Hawkeye will just be that (mostly) great mainstream comic Fraction and Aja did. Hopefully there will be a nice collection, because I’ve been wanting to read it in one sitting since issue three.

Good night, Hawkeye.

CREDITS

Writer, Matt Fraction; artist, David Aja; colorist, Matt Hollingsworth; letterer, Chris Eliopoulos; editors, Devin Lewis and Sana Amant; publisher, Marvel Comics.

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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.

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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.

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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.

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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.

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Howard the Duck 17 (October 1977)

Howard the Duck #17

I don’t like Dr. Bong. It’s a strange misstep for Gerber on Howard. He creates a supervillain who seems like a cross between a Bond villain (he has all sorts of technology and a private island) and Dr. Moreau (he uses said technology to create animal mutations to populate the island). But this guy doesn’t have Dr. Doom’s backstory. He’s an angry tabloid reporter who’s hot for Beverly’s bod.

(He saw her in a modeling class in college).

On one hand, it does give Gerber the chance to let Beverly shine in Howard but he doesn’t take that route. Instead, he tells the villain’s story and Beverly is peripheral. Howard’s not even part of the main plot this issue and his subplot falls flat.

The artwork is good, but the figures seem a little fuller than usual. They look awkward against the backgrounds.

Gerber took seventeens issues to achieve mediocrity.

CREDITS

Doctor Bong; writer and editor, Steve Gerber; penciller, Gene Colan; inker, Klaus Janson; colorist, Janice Cohen; letterer, Annette Kawecki; publisher, Marvel Comics.

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Howard the Duck 16 (September 1977)

Howard the Duck #16

I don’t want to call this comic book strange. Instead of a regular, strange issue of Howard the Duck, it turns out Gerber was just too busy to break out an actual plot for Gene Colan so instead he did an issue in prose.

Howard the Duck #16. It’s Gerber making fun of himself well, which makes one think about how the comic is the same thing. It’s Gerber making fun of a comic book called Howard the Duck well. And how does one accomplish that task well? By being sincere. By going through the artifice of the series to the point of sincerity.

“Howard” even co-narrates, Gerber telling the reader’s Howard’s a voice in his head. True or not, it’s a direct communication between Gerber and the reader without illusion. Gerber still spins a good yarn to go with it. Because it’s how Howard works. Through narrative disruption.

CREDITS

Zen and the Art of Comic Book Writing: A Communique from Colorado; writer and editor, Steve Gerber; pencillers, Gene Colan, Alan Weiss, Ed Hannigan, Marie Severin, Dave Cockrum, Tom Palmer, Al Milgrom, John Buscema, Dick Giordano and Michael Netzer; inkers, Klaus Janson, Weiss, Hannigan, Severin, Cockrum, Palmer, Milgrom, Buscema, Giordano and Terry Austin; colorists, Janson and Doc Martin; letterers, Austin and Irving Watanabe; publisher, Marvel Comics.

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Howard the Duck 15 (August 1977)

Howard the Duck #15

It’s a strangely gentle issue. So gentle I almost went back to check to see if Gerber wrote the thing. Instead, I waited until I finished the issue.

Howard is chill. This issue has a chill Howard the Duck. Gerber takes all the previous events–like Howard’s mental health issues–into account as he lets the cast relax. Sure, they’re on an ocean liner plagued by strange, gigantic threats, but they’re relaxing while making sure they survive.

But Gerber’s humor is also gentler. For the most part. There’s some incisiveness from Howard, who then calls himself on it (confusing Bev while showing his hand to the reader). But, otherwise, it’s a fun, laid back issue.

The pace is fantastic too. Since so little is happening, even though the cast is on a big set, Gerber is able to get a lot of stuff into the book. It’s strange and great.

CREDITS

The Island of Dr. Bong!; writer and editor, Steve Gerber; penciller, Gene Colan; inker and colorist, Klaus Janson; letterer, Irving Watanabe; publisher, Marvel Comics.

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Howard the Duck Annual 1 (June 1977)

Howard the Duck Annual #1

The Howard the Duck Annual is a fantastic comic. Writers Mary Skrenes and Steve Gerber wisely go for an extended story as opposed to some special, annual-like one. Unless there’s something to Howard being in Arabia. Did Donald Duck ever have an Arabian adventure?

With Howard–especially with Val Mayerik on the art–there’s frequently a strange moment where the panel seems extremely iconic… only Howard’s not the iconic one. Between the visuals and the script, the comic often requires a moment of reflection from the reader. Crazy hijinks are going on, but Gerber handles them all so well, for a moment they don’t seem too crazy.

Gerber gets in quite a few good jokes here too. Some great situational punchlines. The issue also has Winda and Paul tagging along with Bev and Howard. It’s a very strange team comic or something.

I wish Howard was always annual-length.

CREDITS

Thief of Bagmom!; writers, Mary Skrenes and Steve Gerber; artist, Val Mayerik; colorist, Janice Cohen; letterer, Joe Rosen; editor, Gerber; publisher, Marvel Comics.

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Howard the Duck 14 (July 1977)

Howard the Duck #14

And Gerber is back on with Howard. After being possessed by the Son of Satan’s demon, Howard heads to Cleveland to get revenge on Beverly for not loving him. It’s a lengthy trip, however, with Howard having little moments on the way. Gerber also cuts back to Daimon Hellstrom (the guy who’s supposed to be possessed) forecasting how dangerous Howard has become.

He is dangerous. Beverly is in danger. Gerber establishes the possessed Howard as a threat. It’s kind of real crazy for the protagonist of a comic like Howard the Duck to not just become detached from the reader, but to be what seems to be an actual threat to the others.

Klaus Janson inks Colan here; they give the characters a lot of physical weight in their scenes. Howard’s imposing, even though he’s small. It’s cool.

It’s another great issue in a fantastic run from Gerber. He’s outstanding.

CREDITS

A Duck Possessed!; writer and editor, Steve Gerber; penciller, Gene Colan; inker, Klaus Janson; colorist, Irene Vartanoff; letterer, Jim Novak; publisher, Marvel Comics.

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Howard the Duck 13 (June 1977)

Howard the Duck #13

Maybe Colan drawing Ace Frehley just got me off on the wrong foot with this issue of Howard but it does seem like Gerber’s got way too much going on.

He splits the issue between Howard and his new lady friend, Howard’s insanity, Howard’s doctor and guest starring Son of Satan, the evil German nurse and her evil German boss and then the return of a villain from a previous issue. It’s very, very busy and not much of it has to do with Howard.

And the rest of it isn’t particularly interesting. Gerber doesn’t reveal the evil German plan (it’s German, it involves cults, it must be evil), so it’s just ominous, not ominous and funny. That disconnect might be the problem with the issue–it’s absurd, just never absurdly funny.

Gerber just never seems to get anywhere, even though he does get to a reasonably amusing hard cliffhanger.

CREDITS

Rock, Roll Over, and Writhe!; writer and editor, Steve Gerber; penciller, Gene Colan; inker, Steve Leialoha; colorist, Janice Cohen; letterer, Jim Novak; publisher, Marvel Comics.

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Howard the Duck 12 (May 1977)

Howard the Duck #12

It’s another great issue of Howard the Duck. I’m even willing to give Gerber a chance to make the hard cliffhanger’s unfortunate corporate synergy guest stars worthwhile next issue. He does such a good job with the comic–this issue has Howard tried and committed–I’m willing to give him a lot of leeway.

Gerber balances the absurdity and the political and social commentary quite well. He manages to mix all three into the comic. He’ll have these absurd set pieces with multiple commentaries going on. It’s really cool to read and to follow the tangents to their conclusions.

Plus there’s Howard. Even though Gerber’s doing so much, he’s also got this really interesting character. (I’m really starting to miss Bev). By keeping Howard’s history a secret, Gerber encourages readers to get further invested in the character. But it never feels calculated, just enthusiastic.

Howard, weird cliffhanger and all, rocks.

CREDITS

Mind-Mush!; writer and editor, Steve Gerber; penciller, Gene Colan; inker, Steve Leialoha; colorist, Janice Cohen; letterer, Jim Novak; publisher, Marvel Comics.

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Howard the Duck 11 (April 1977)

Howard the Duck #11

It’s Howard without Beverly–in a delirious state he assumes she has run out on him with one of the hairless apes but it’s really innocent (or so we hope)–and that change in balance would be enough to get the issue done. It’s Howard fending for himself and all. Gerber could easily fill the pages with that angle.

Instead, Gerber adds to it–Howard’s still sort of delirious, even though he’s a little better, but then he’s on a bus with a collection of spiritual types and a fetching, lisping lady and his nemesis, the kidney lady. It’s weird. And it moves. Gerber and Colan do the movement of this bus beautifully. The pacing is just stunning.

And Gerber ignores all the plot points one might assume in the issue. He even goes out on an entirely unexpected hard cliffhanger, but displays it as a mild ending.

Amazing work.

CREDITS

Quack-Up!; writer and editor, Steve Gerber; penciller, Gene Colan; inker, Steve Leialoha; colorist, Janice Cohen; letterer, Jim Novak; publisher, Marvel Comics.

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Howard the Duck 10 (March 1977)

Howard the Duck #10

Steve Gerber tears down comics and rebuilds them in this issue of Howard the Duck. Well, maybe just in the first ten pages of the issue. He hangs out in the rebuilt part for the rest of the story. Real quick–Gerber’s Duck is an idea of where mainstream comics should go. And it’s a rejected idea. Seeing all the potential the medium and industry squandered is depressing.

The comic has Howard dreaming about his current psychological predicament. Gerber makes it a story about a duck out of water without ever showing the reader the water. It’s all inferred (Howard’s home) and it collides with all the political commentary Gerber is doing. It’s awesome work. So, so good. So thoughtful.

This issue also gives Colan a bunch of strange stuff to draw. He does it. Colan is realistically rendering the absurd while still keeping it absurd. It’s awesome work too.

CREDITS

Swan-Song …of the Living Dead Duck!; writer and editor, Steve Gerber; penciller, Gene Colan; inker, Steve Leialoha; colorist, Janice Cohen; letterer, Jim Novak; publisher, Marvel Comics.

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Howard the Duck 9 (February 1977)

Howard the Duck #9

The cover promises the action of Howard the Duck battling a giant beaver at Niagara Falls. The comic doesn’t disappoint; that sequence, beautifully rendered by Colan and Leialoha, ends the issue. But it comes after an extremely goofy and sort of sad adventure for Howard and Bev.

He’s lost the election, which is unfortunate, and he’s got to clear his name. More, he’s got to clear Bev’s name–a photo of them bathing together was leaked to the press. It’s a fix though. She doesn’t like the smell of wet feathers. Gerber has a beautiful way of keeping the reader off balance, revealing this strange details of Howard and Bev’s “regular” lives. It’s a neat idea, to acknowledge the characters have time off from the reader’s scrutiny.

The investigation leads them to Canada. Gerber has a lot of good Canada jokes. He doesn’t have to get mean with them either.

CREDITS

Scandal Plucks Duck; writer, Steve Gerber; penciller, Gene Colan; inker, Steve Leialoha; colorist, Michele Wolfman; letterer, John Costanza; editor, Archie Goodwin; publisher, Marvel Comics.

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Howard the Duck 8 (January 1977)

Howard the Duck #8

This comic is difficult to believe. Not the content of the issue, where Gerber just goes wild with a look at American presidential candidacy, but its very existence. Marvel Comics published a comic about the American public rabidly anticipating the assassination of political candidates. They let Gerber get away with it, they even paid Gene Colan to draw it. It’s amazing in its existence.

As a comic, it’s pretty good. Gerber’s plotting is strange. The issue really just is a series of assassination attempts on Howard’s life. There’s barely any character development. Gerber is just moving Howard and Bev from one setup to another. It’s efficiently done too, which is cool. It feels like a race.

The art, from Colan and inker Steve Leialoha, is awesome as usual. But this issue gives Colan and Leialoha a lot of thriller sequences they also have to make somewhat amusing. They confidently succeed.

CREDITS

Open Season!; writers, David Anthony Kraft, Don McGregor and Steve Gerber; penciller, Gene Colan; inker, Steve Leialoha; colorist, Janice Cohen; letterer, Irving Watanabe; editor, Archie Goodwin; publisher, Marvel Comics.

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Howard the Duck 7 (December 1976)

Howard the Duck #7

It’s an amazing issue. Primarily because it ends with Howard the Duck being made a Presidential candidate, but also because Gerber hits every right note throughout the issue. He introduces politics into the comic after finishing up the previous issue’s cliffhanger. It involved a giant gingerbread man attacking Howard and Bev after being brought to life by a seven year-old mad scientist.

And this issue is political intrigue mixed with absurdist humor. Okay, I suppose there’s some absurdist humor to the gingerbread man but it’s somewhat broader. And there’s the built in classiness of that sequence–unexpected as it may be–because Gene Colan adds class to everything.

But the way Gerber sets up Bev and Howard in this political convention, the time he takes setting everything up; he layers the entire second half of the comic with plot hints and moments of character development.

It’s brilliantly done stuff.

CREDITS

The Way the Cookie Crumbles!; writer, Steve Gerber; penciller, Gene Colan; inker, Steve Leialoha; colorist, Marie Severin; letterer, Jim Novak; editor, Archie Goodwin; publisher, Marvel Comics.

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Howard the Duck 6 (November 1976)

Howard the Duck #6

Part of me desperately wishes Gerber and Mary Skrenes (who helped with plotting) just gave Colan a scary house script and then had the absurdism added later. Because if you took out the word balloons and the narration boxes, it would seem like Howard and Beverly had ended up in a twisted Marvel horror comic. Tomb of Dracula almost, though the scene where fundamentalist Christian cult kids threaten Howard is scarier than anything in Dracula.

The beautiful part of the script–all of the art is beautiful; Colan does some great work–but the script’s beauty is in how little humor Gerber goes for. He doesn’t make any of the obvious jokes. He plays everything straight, which just makes it funnier.

He does some nice character development on Beverly this issue. She and Howard are on the outs over a cigar squabble.

Gerber changes up Howard; it works out great.

CREDITS

The Secret House of Forbidden Cookies!; writers, Mary Skrenes and Steve Gerber; penciller, Gene Colan; inker, Steve Leialoha; colorist, Glynis Wein; letterer, John Costanza; editor, Archie Goodwin; publisher, Marvel Comics.

3

Howard the Duck 5 (September 1976)

Howard the Duck #5

If you’re a duck stuck in the Marvel Universe, how are you going to earn some quick cash? Wrestling, of course. Everyone knows fighting crime doesn’t pay and you’ve got to look out for number one!

Howard and Beverly are having money troubles–I love how Gerber gets around to discussing the obvious logic problems in Howard (I can only hope there’s the sleeping situation issue)–and Howard tries finding a job of his own.

Beverly’s modeling gig isn’t going to make them millionaires, after all.

His misadventures get him on TV–fighting a clown (the clown did hit him with a cream pie)–and then working as a collection agent. Not any kind of work for a respectable duck, hence the wrestling for ten grand.

There’s a lot humor, but Colan’s pencils really show the humanity of it all. Gerber works some considerable magic with Howard the Duck’s thoughtfulness.

CREDITS

I Want Mo-o-oney!; writers, Martin Pasko and Steve Gerber; penciller, Gene Colan; inker, Steve Leialoha; colorist, Michele Wolfman; letterers, Gaspar Saladino and Irving Watanabe; editor, Marv Wolfman; publisher, Marvel Comics.

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