Gene Colan

Howard the Duck 31 (May 1979)

Howard the Duck #31What 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.

Howard the Duck 30 (March 1979)

Howard the Duck #30Al 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.

Howard the Duck 27 (September 1978)

Howard the Duck #27Howard 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.

Howard the Duck 26 (July 1978)

Howard the Duck #26Well… 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 #25Well, 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 #24I 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 20 (January 1978)

Howard the Duck #20I’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 #19Howard’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 18 (November 1977)

Howard the Duck #18Bong’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.

CREDITS

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

Howard the Duck 17 (October 1977)

Howard the Duck #17I 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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