The Jack Kirby Omnibus volume 2 – starring The Super Powers


By Jack Kirby with Joe Simon, Mike Royer Paul Kupperberg, Adrian Gonzalez & various (DC Comics)
ISBN: 978-1-4012-3833-9

Win’s Christmas Gift Recommendation: Epic Entertainment… 9/10

Famed for his larger than life characters and gigantic, cosmic imaginings, Jack Kirby was an astute, imaginative, spiritual man who had lived through poverty and gangsterism, the Depression, Post-War optimism, Cold War paranoia, political cynicism and the birth and death of peace-seeking counter-cultures. He was open-minded and utterly wedded to the making of comics stories on every imaginable subject. He also always believed that sequential narrative was worthy of being published as real books beside mankind’s other literary art forms.

Looks like he was right, and – as usual – just ahead of the times, doesn’t it?

There’s a magnificent abundance of Kirby commemorative collections around these days (though still not all of it, so I remain a partially disgruntled dedicated fan). This particular magnificent hardback compendium re-presents most of miscellaneous oddments of the “King’s Canon” crafted for DC – at least those to which the company still retains rights.

The licenses on stuff like his run on pulp adaptation Justice Inc. (or indeed Marvel’s 2001: A Space Odyssey comic) will not be forthcoming any time soon…

This massive tome begins with pages of hyper-kinetic Kirby pencil pages and a moving ‘Introduction by John Morrow’ before hurtling straight into moody mystery with a range of twice told tales.

On returning from WWII, Kirby reconnected with his long-term creative partner Joe Simon. National Comics was no longer a welcoming place for the reunited dream team supreme and by 1947 they had formed their own studio. They enjoyed a long and productive relationship with Harvey Comics (Stuntman, Boy’s Ranch, Captain 3-D, Lancelot Strong, The Shield, The Fly, Three Rocketeers and more) and created a stunning variety of genre features for Crestwood/Pines supplied by their Essankay/Mainline studio shop.

These included Justice Traps the Guilty, Fighting American, Bullseye, Police Trap, Foxhole, Headline Comics and Young Romance amongst many more (see the superb Best of Simon and Kirby for a salient selection of these classic creations): a veritable mountain of maturely challenging strip material in a variety of popular genres.

One of those was mystery and horror and amongst that dynamic duo’s “Prize” concoctions was noir-ish, psychologically-underpinned supernatural anthology Black Magic and latterly a short-lived but fascinating companion title Strange World of Your Dreams. These comics anthologies eschewed the traditional gory, heavy-handed morality plays and simplistic cautionary tales for deeper, stranger fare, and – until the EC comics line hit their peak – were far and away the best mystery titles on the market.

When the King quit Marvel for DC in 1970, his new bosses accepted suggestions for a supernatural-themed mature-reading magazine. Spirit World was a superb but poorly received and largely undistributed monochrome magazine. Issue #1 – and only – launched in the summer of 1971, but editorial cowardice and back-sliding scuppered the project before it could get going.

Material from a second, unpublished issue eventually appeared in colour comicbooks Weird Mystery Tales and Forbidden Tales of Dark Mansion but with his ideas misunderstood, ignored or side-lined by the company, Kirby opted again for more traditional fare. Never truly defeated though, he cannily blended his belief in the marketability of the supernatural with flamboyant super-heroics to create another unique and lasting mainstay for the DC universe. The Demon only ran a couple of years but was a concept later, lesser talents would make a pivotal figure of the company’s continuity.

His collaborations with fellow industry pioneer Joe Simon always produced dynamite concepts, unforgettable characters, astounding stories and huge sales, no matter what genre avenues they pursued, blazing trails for so many others to follow and always reshaping the very nature of American comics with their innovations and sheer quality.

As with all their endeavours, Simon & Kirby offered stories shaped by their own sensibilities. Identifying a “mature market” gap in the line of magazines they autonomously packaged for publishers Crestwood and Prize they saw the sales potential for high-quality spooky material. resulting in the superb and eerily seminal Black Magic (launched with an October/November 1950 cover-date), supplemented in 1952 by boldly obscure psychological drama anthology The Strange World of Your Dreams: a title inspired by studio-mate Mort Meskin’s vivid and punishing night terrors.

Dealing with fantastic situations and – too frequently for comfort – unable or unwilling to provide pat conclusions or happy endings, cosmic justice or calming explanations were seldom available to avid readers. Sometimes the Unknown just blew up in your face and you survived or didn’t… and never whole or unchanged.

Thus, this colossal compendium of cult cartoon cavortings commences with DC’s revival of Black Magic as a cheap, modified reprint title.

The second issue #1 launched with an October/November 1973 cover-date, offering rather crudely re-mastered versions of some astounding classics. Far better reproduced on the good quality paper here is ‘Maniac!’ (originating in Black Magic #32 September/October 1973); an artistic tour de force and a tale much “homaged” in later years, detailing how – and why – a loving brother stops villagers taking his simple-minded sibling away. This is followed by ‘The Head of the Family!’ (BM #30 May/June 1954, by Kirby & Bruno Premiani), revealing the appalling secret shame of a most inbred clan…

DC’s premier outing ended with a disturbing tale first seen in Black Magic #29 (March-April 1954). Specifically cited during the1954 anti-comicbook Senate Hearings, ‘The Greatest Horror of them All!’ told a tragic tale of a freak hiding amongst lesser freaks…

DC’s second issue – cover-dated December 1973/January 1974 – opened with ‘Fool’s Paradise!’ (BM #26, September/October 1953) wherein a petty thug stumbles into a Mephistophelean deal and revealed how ‘The Cat People’ (#27 November/December 1953) mesmerised and forever marked an unwary tourist in rural Spain before ‘Birth After Death’ (#20 January 1953) retold the true story of how Sir Walter Scott’s mother survived premature burial, and ‘Those Who Are About to Die!’ (#23 April 1953) sketched out the tale of a painter who could predict imminent doom…

‘Nasty Little Man!’ (#18 November 1952) fronted DC’s third foray and gets my vote for creepiest horror art job of all time. It saw three hobos discover to their everlasting regret why you shouldn’t pick on short old men with Irish accents. ‘The Angel of Death!’ (#15 August 1952) then detailed an horrific medical mystery far darker than mere mystic menace…

As the 1950s editions grew in popularity, Simon & Kirby were stretched thin. Utilising a staff of assistants and crafting fewer stories themselves meant they could keep all their deadlines…

The ‘Cover art for Black Magic #4, June/July 1974’ sensibly segues into ‘Last Second of Life!’, from Black Magic volume 1 #1, October-November 1950) wherein a rich man, obsessed over what the dying see at final breath, learns to regret the unsavoury lengths he went to in finding out: their only contribution to that particular DC issue.

There were two in the next release. ‘Strange Old Bird!’ (Black Magic #25 June/July 1953) is a gently eerie thriller of a little old lady who gets the gift of renewed life from her tatty and extremely flammable feathered old friend and ‘Up There!’ from the landmark 13th issue from June 1952 – the saga of a beguiling siren of the upper stratosphere scaring the bejabbers out of a cool test pilot…

DC issue #6 reprises ‘The Girl Who Walked on Water!’ (BM #11 April 1952) exposing the immense but fragile power of self-belief whilst the ‘Cover art for Black Magic #7, December 1974/January 1975’ (originally #17 October 1952) provides a chilling report on a satanic vestment ‘The Cloak!’ (from BM #2 December 1950/January 1951) and ‘Freak!’ (from the aforementioned #17) shares a country doctor’s deepest shame…

DC’s #8 revisited The Strange World of Your Dreams, beginning with “a typical insecurity nightmare” ‘The Girl in the Grave!’ (from #2, September/October 1952). The Meskin-inspired anthology of oneiric visions eschewed cheap shocks, mindless gore and goofy pun-inspired twist-ending yarns in favour of dark, oppressive suspense soaked in psychological unease and inexplicable unease: tension over teasing…

Following up with ‘Send Us Your Dreams’ from the same source (requesting readers’ ideas for parapsychologist Richard Temple to analyse), DC’s vintage fear-fest concludes with # 9 (April/May 1975) and ‘The Woman in the Tower!’ as originally seen in The Strange World of Your Dreams #3, (November/December 1952) detailing the symbolism of oppressive illness…

Kirby continued creating new material with Kamandi – his only long-running DC success – and explored WWII in The Losers whilst creating the radical, scarily prophetic, utterly magnificent Omac: One Man Army Corps, but still could not achieve the all-important sales the company demanded. Eventually he was lured back to Marvel and new challenges such as Black Panther, Captain America, 2001: A Space Odyssey, Devil Dinosaur, Machine Man and especially The Eternals.

Before then, though, he unleashed a number of new concepts and even filled in on established titles. As previously moaned about, however, his 3-issue run on Justice Inc. adapting licensed pulp hero The Avenger is not included here, but at least his frankly astounding all-action dalliance with martial arts heroics is…

Debuting in all-new try-out title 1st Issue Special #1 (April 1975, and inked by D. Bruce Berry), ‘Atlas the Great! harked back to the dawn of human civilisation and followed the blockbusting trail of mankind’s first super-powered champion in a blazing Sword & Sorcery yarn.

1st Issue Special #5 (August 1975, Berry) highlighted the passing of a torch as a devout evil-crusher working for an ancient justice-cult retired and tipped his nephew – Public Defender Mark Shaw – to become the latest super-powered ‘Manhunter’

A rare but welcome digression into comedy manifested as ‘The Dingbats of Danger Street’ (1st Issue Special #6, September 1975) with Mike Royer inking a bizarre and hilarious revival of Kirby’s Kid Gang genre starring four multi-racial street urchins united for survival and to battle surreal super threats…

Always looking for work Kirby – and Berry – stepped in for #3 of troubled martial arts series Richard Dragon, Kung Fu Fighter (August/September 1975). Scripted by Denny O’Neil, the savage shocker pits the lone fighter against an army of assassins in ‘Claws of the Dragon!’

‘Fangs of the Kobra!’ comes from Kobra #1, released with a February/March 1976 cover-date. The tale is strange in both execution and delivery, with Kirby’s original updating of Dumas’ tale of The Corsican Brothers reworked by Martin Pasko, Steve Sherman and artists Pablo Marcos & Berry.

It introduces brothers separated at birth. Jason Burr grew up a normal American kid whilst his twin – stolen by an Indian death cult – was reared as Kobra, the most dangerous man alive. Sadly for the super-criminal, young adult Jason has been recruited by the authorities because of his psychic connection to the snake lord: a link which allows them to track each other and also feel and experience any harm or hurt the other incurs…

When Simon & Kirby came to National/DC in 1942 one of their earliest projects was revitalising the moribund Sandman strip in Adventure Comics. Their unique blend of atmosphere and dynamism made it one of the most memorable, moody and action-packed series of the period (as you can see by reading complete Sandman edition which is a companion to this volume).

The band was brought back together for The Sandman #1 (cover-dated Winter 1974); a one-shot project which took the name and created a whole new mythology…

Scripted by Simon and inked by Royer ‘General Electric’ revealed how the realm of dreams was policed by a scarlet-&-gold super-crusader dedicated to preventing nightmares escaping into the physical world. With unwilling assistants Glob and Brute, the Sandman also battled real world villains determined to exploit the unconscious Great Unknown. The heady mix was completed by frail orphan Jed, whose active sleeping imagination seemed to draw trouble to him.

The proposed one-off was a minor hit at a tenuous time in comics publishing, and DC opted to keep it going, even though the originators were not interested. Kirby & Royer did produce the ‘Cover art Sandman #2, April/May 1975’ and ‘Cover art Sandman #3, June/July 1975’ before returning to the series with #4.

‘Panic in the Dream Stream’ – August/September 1975 – was scripted by Michael Fleisher, and revealed how a sleepless alien race attempted to conquer Earth through Jed’s fervent dreams: a traumatic channel that even allowed them to invade the Sandman’s Dream Realm. The next issue (October/November 1975) heralded an ‘Invasion of the Frog Men!’ into an idyllic parallel dimension before the next issue reunited a classic art team. Wally Wood inked Jack for Fleisher’s ‘The Plot to Destroy Washington D.C.!’, with mind-bending cyborg Doctor Spider, subverting and enslaving Glob and Brute in his eccentric ambition to take over America…

Although Sandman #6 (December 1975/January 1976) was the last issue, another tale was already completed and it finally appeared in reprint digest Best of DC #22 in March 1982. ‘The Seal Men’s War on Santa Claus’ with Fleisher scripting and Royer handling the brushwork was a sinister seasonal romp with Jed’s wicked foster-family abusing the lad in classic Scrooge style before the Weaver of Dreams seconds him to help save Christmas from bellicose well-armed aquatic mammals…

During the 1980s costumed heroes stopped being an exclusively print cash cow. Many toy companies licensed Fights ‘n’ Tights titans and reaped the benefits of ready-made comicbook spin-offs. DC’s most recognizable characters became a best-selling line of action figures and were inevitably hived off into a brisk and breezy, fight-frenzied miniseries.

Super Powers launched in July 1984 as a 5-issue miniseries with Kirby covers and his signature characters prominently represented. Jack also plotted the stellar saga with scripter Joey Cavalieri providing dialogue, and Adrian Gonzales & Pablo Marcos illustrating a heady cosmic quest comprising numerous inconclusive battles between agents of Good and Evil.

In ‘Power Beyond Price!’, ultimate nemesis Darkseid despatches four Emissaries of Doom to destroy Earth’s superheroes. Sponsoring Lex Luthor, The Penguin, Brainiac and The Joker the monsters jointly target Superman, Batman & Robin, Wonder Woman, Flash, Aquaman and Hawkman

The combat escalates in #2’s ‘Clash Against Chaos’ with the Man of Steel and Scarlet Speedster tackling Luthor, whilst Aquaman and Green Lantern scupper the Penguin as Dark Knight and Winged Wonder confront a cosmically-enhanced Harlequin of Hate…

With Alan Kupperberg inking, an inconclusive outcome leads to a regrouping of evil and an attack by Brainiac on Paradise Island. With the ‘Amazons at War’ the Justice League rally until Superman is devolved into a brutal beast who attacks his former allies. All-out battle ensues in ‘Earth’s Last Stand’, before the King steps up to write and illustrate the fateful finale: cosmos-shaking conclusion ‘Spaceship Earth – We’re All on It!’ (November 1984, with Greg Theakston suppling inks)…

A bombastic Super Powers Promotional Poster leads into a nostalgic reunion as DC Comics Presents #84 (August 1985) reunited Jack with his first Fantastic Four.

‘Give Me Power… Give Me Your World!’ – written by Bob Rozakis, Kirby & Theakston (with additional art by the legendary Alex Toth) – pits Superman and the Challengers of The Unknown against mind-bending Kryptonian villain Zo-Mar, after which the ‘Cover art for Super DC Giant S-25, July/ August 1971’ (inked by Vince Colletta) segues into the Super Powers miniseries, spanning September 1985 to February 1986.

Scripted by Paul Kupperberg the Kirby/Theakston saga ‘Seeds of Doom!’ recounts how deadly Darkseid despatches techno-organic bombs to destroy Earth, requiring practically every DC hero to unite to end the threat.

With teams of Super Powers travelling to England, Rome, New York, Easter Island and Arizona the danger is magnified ‘When Past and Present Meet!’ as the seeds warp time and send Aquaman and the Martian Manhunter back to days of King Arthur

Super Powers #3 (November 1985) finds Red Tornado, Hawkman and Green Arrow plunged back 75 million years in ‘Time Upon Time Upon Time!’ even as Doctor Fate, Green Lantern and Wonder Woman are trapped in 1087 AD battling stony-faced giant aliens on Easter Island.

Superman and Firestorm discover ‘There’s No Place Like Rome!’ as they battle Darkseid’s agent Steppenwolf in the first century whilst Batman, Robin and Flash visit a future where Earth is the new Apokolips in #5’s ‘Once Upon Tomorrow’ before Earth’s scattered champions converge on Luna to spectacularly squash the schemes-within-schemes of ‘Darkseid of the Moon!’

Rounding out the astounding cavalcade of wonders, are a selection of Kirby-crafted ‘Who’s Who Profiles’ pages from Who’s Who: The Definitive Directory of the DC Universe 1985-1987: specifically, Ben Boxer, the Boy Commandos, Challengers of the Unknown, Crazy Quilt, Etrigan the Demon, Kamandi, the Newsboy Legion, Sandman (the Dream Stream version from 1974), Sandy, the Golden Boy and Witchboy Klarion.

Jack Kirby was and is unique and uncompromising: his words and pictures comprise an unparalleled, hearts-and-minds grabbing delight no comics lover can possibly resist. If you’re not a fan or simply not prepared to see for yourself what all the fuss has been about then no words of mine will change your mind.

That doesn’t alter the fact that Kirby’s life’s work from 1937 to his death in 1994 shaped the entire American comics scene – and indeed the entire comics planet – affecting the lives of billions of readers and thousands of creators in all areas of artistic endeavour for generations and is still winning new fans and apostles every day, from the young and naive to the most cerebral of intellectuals. His work is instantly accessible, irresistibly visceral, deceptively deep and simultaneously mythic and human.

He is the King and will never be supplanted.
© 1971, 1973, 1974, 1975, 1976, 1984, 1985, 1986, 1987, 2013 DC Comics. All Rights Reserved.

Batman: The Golden Age Volume 3


By Bill Finger, Joseph Greene, Edmond Hamilton, Jack Schiff, Bob Kane, Jack Burnley, Fred Ray, Jerry Robinson, George Roussos & various (DC Comics)
ISBN: 978-1-4012-7130-5

Win’s Christmas Gift Recommendation: Thrilling and Totally Traditional… 10/10

The history of the American comicbook industry in most ways stems from the raw, vital and still compelling tales of two iconic creations published by DC/National Comics: Superman and Batman. It’s only fair and fitting that both those characters are still going strong and that their earliest adventures can be relived in chronological order in relatively cheap, and gloriously cheerful, compilations.

Debuting a year after Superman, “The Bat-Man” (and latterly Robin, the Boy Wonder) cemented DC/National Comics as the market frontrunner and conceptual leader of the burgeoning comicbook industry.

Having established the parameters of the metahuman in their Man of Tomorrow, the physical mortal perfection and dashing derring-do of the strictly-human Dynamic Duo rapidly became the swashbuckling benchmark by which all other four-colour crime-busters were judged.

Batman: The Golden Age is a series of paperback feasts (there’s also weightier, pricier, more capacious hardback Omnibus editions available, and digital iterations too) re-presenting the Dark Knight’s earliest exploits.

Set out in original publishing release order, the tomes trace the character’s growth into the major player who would inspire so many and develop the resilience to survive the stifling cultural vicissitudes the coming decades would inflict upon him and his partner, Robin.

Re-presenting astounding cape-&-cowl classics and iconic covers from Detective Comics #57-65, Batman #8-11 and pertinent stories from World’s Finest Comics #4-6, this book covers groundbreaking escapades from November 1941 to July 1942: as the Dynamic Duo continually develop and storm ahead of all competition.

As the heroes’ influence expanded, new talent joined the stable of creators. Jerry Robinson had already worked with writer Bill Finger and penciller Bob Kane, and during this period two further scripters joined the team. Detective Comics #57 featured ‘Twenty-Four Hours to Live’, a tale of poisonings and Crimes of Passion whilst the perfidious Penguin returned in the next issue to make our heroes the victims of ‘One of the Most Perfect Frame-Ups’

A few weeks later Batman #8 (now Bi-Monthly!) came out, cover-dated December 1941-January 1942. Such a meteoric rise and expansion during a time of extreme paper shortages gives evidence to the burgeoning popularity of the characters. Behind a superbly evocative “Infinity” cover by Fred Ray & Robinson lurked four striking tales of bravura adventure.

‘Stone Walls Do Not a Prison Make’ is a brooding prison drama, followed by a rare foray into science fiction as a scientist abused by money-grubbing financial backers turns himself into a deadly radioactive marauder in ‘The Strange Case of Professor Radium.’ This tale was later radically revised and recycled by Finger & Kane as a sequence of the Batman daily newspaper strip from September 23rd – November 2nd

‘The Superstition Murders’ is an enthralling example of the “ABC Murders” – style plot and the issue wraps up on a high as ‘The Cross Country Crimes’ sees the Joker rampage across America in a classic blend of larceny and lunacy.

The Batman tale from Detective Comics #59 was written by Joseph Greene and details how the Penguin turns his formidable talents to bounty-hunting his fellow criminals in ‘The King of the Jungle’, and is followed here by rip-roaring modern cowboy yarn ‘The Ghost Gang Goes West’ which first appeared in the winter issue of World’s Finest Comics (#4).

Jack Schiff, who had a long and auspicious career as an editor at DC, scripted ‘The Case of the Costume-Clad Killers’ (Detective #60): another excursion into mania starring the Joker, leaving Bill Finger free to concentrate on the four fabulous tales comprising Batman #9 (February-March 1942) – one of the greatest single issues of the Golden Age and still a cracking parcel of joy today.

Behind possibly the most reproduced cover ever crafted by the brilliant Jack Burnley are ‘The Four Fates’: a dark and moving human interest drama featuring a quartet of fore-doomed mobsters; a maritime saga based on Moby Dick entitled ‘The White Whale’; another unforgettable Joker yarn ‘The Case of the Lucky Law-Breakers’, and the birth of a venerable tradition in an untitled story called here for expediency’s sake ‘Christmas’.

Over the decades, many of the Caped Crusaders’ best and finest adventures have had a Seasonal theme (and why there’s never been a Greatest Christmas Batman Stories is a mystery I’ve pondered for years!) and this touching – even heart-warming – story of petty skulduggery and little miracles is where it all really began.

There’s not a comic fan alive who won’t dab away a tear…

Next is another much-reprinted classic (aren’t they all?) from Detective Comics #61. ‘The Three Racketeers’ is the perfect example of a vintage Batman novella as a trio of criminal big-shots swap stories of the Gotham Guardians over a quiet game of cards, and the ripping yarn even conceals a sting-in-the-tail that still hits home 75 years later.

America had entered World War II by this period and the stories – especially the patriotic covers – went all-out to capture the imagination, comfort the down-hearted and bolster the nation’s morale.

One of the very best (and don’t just take my word for it – type “World’s Finest covers” into your preferred search engine and see for yourselves – go on, I’ll wait) designed and executed by the astounding Jerry Robinson precedes ‘Crime takes a Holiday’, (WFC #5, Spring 1942, by Finger, Kane & Robinson), a canny mystery yarn revealing how and why the criminal element of Gotham City suddenly “downs tools”. Naturally it’s all part of a devious master-plan and just as naturally our heroes soon get to the bottom of it…

The same creative team also produced ‘Laugh, Town Laugh!’ (Detective #62, April 1942) wherein the diabolical Joker goes on a murder-spree to prove to the nation’s comedians and entertainers who actually is the “King of Jesters”.

Cover-dated April-May 1942, Batman #10 follows with another four mini-masterpieces. Scripted by Greene ‘The Isle That Time Forgot’ sees the Dynamic Duo trapped in a land of dinosaurs and cavemen, whilst ‘Report Card Blues’ (also Greene) scripting, has the heroes inspire a wayward kid to return to his studies by crushing the mobsters he’s ditched school for.

Robinson soloed as illustrator and Jack Schiff typed the words for the classy jewel caper (oh, for those heady days when Bats wasn’t too grim and important to stop the odd robbery or two!) ‘The Princess of Plunder’ starring everyone’s favourite Feline Femme Fatale Catwoman, before the boys headed way out west to meet ‘The Sheriff of Ghost Town!’

This extremely impressive slice of contemporary Americana came courtesy of Finger, Kane & Robinson, who then went on to produce ‘A Gentleman in Gotham’ for Detective Comics #63.

Here the Caped Crusader has to confront tuxedoed International Man of Mystery Mr Baffle, before the Crime Clown again causes malignant mirthful mayhem in ‘The Joker Walks the Last Mile’ (Detective #64. June 1942).

Obviously, he didn’t since he was cover-featured and lead story in Batman #11 (June-July 1942). Finger is writer for ‘The Joker’s Advertising Campaign’ and ‘Payment in Full’ – a touching melodrama about the District Attorney and the vicious criminal to whom he owes his life, before ‘Bandits in Toyland’ features the scripting debut of pulp Sci Fi author Edmond Hamilton who details why a gang of thugs are stealing dolls and train-sets.

Finger then returns for ‘Four Birds of a Feather!’ which finds Batman in Miami to scotch the Penguin’s dreams of a crooked gambling empire…

There’s another cracking War cover and brilliant Bat-yarn from World’s Finest Comics #6 (Summer 1942) in ‘The Secret of Bruce Wayne!’ as Greene and Robinson provide a clandestine identity exposé tale that would become a standard plot of later years, before the volume closes with one more superb patriotic cover (this one by Jack Kirby & Joe Simon for Detective Comics #65) and a gripping crime-romp as Jack Burnley & George Roussos render Greene’s poignant and powerful North Woods thriller ‘The Cop who Hated Batman!’

These are the stories that cemented the popularity of Batman and Robin and brought temporary relief to millions during a time of tremendous hardship and crisis. Even if these days aren’t nearly as perilous or desperate – and there ain’t many who thinks otherwise! – the power of such work to rouse and charm is still potent and just as necessary. You owe it to yourself and your family and even your hamster to Buy This Book…
© 1941, 1942, 2017 DC Comics. All Rights Reserved.

Flash: The Silver Age volume 2


By John Broome, Gardner Fox, Carmine Infantino & various (DC Comics)
ISBN: 978-1-4012-7088-9

Win’s Christmas Gift Recommendation: Timeless Fun, Quick as You Like… 10/10

The second Flash triggered the Silver Age of American comicbooks and, for the first ten years or so, in terms of creative quality and sheer originality – it was always the book to watch.

Following his debut in Showcase #4 (October 1956), police scientist Barry Allen – transformed by a lightning strike and accidental chemical bath into a human thunderbolt of unparalleled velocity and ingenuity – was uncharacteristically slow in winning his own title, but finally (after three more trial issues) finally stood on his own wing-tipped feet in The Flash#105 (February-March 1959).

He never looked back, and by the time of this second commemorative compilation was very much the innovation mainstay of DC/National Comics burgeoning superhero universe. This second Trade Paperback (and digital) collection re-presents Flash #117-132 – spanning December 1960 through November 1962 – and tracks the Vizier of Velocity as he becomes the key figure in a stunning renaissance of comicbook super-heroics.

Shepherding the Scarlet Speedster’s meteoric rise to prominence, the majority of stories are written by the brilliant John Broome and all are pencilled by the infinitely impressive Carmine Infantino: slickly polished, coolly sophisticated rapid-fire short stories set in a comfortingly suburbanite milieu constantly threatened by super-thieves, sinister spies and marauding aliens with our affable new superhero always triumphant whilst ever expanding and establishing the broad parameters of an increasingly cohesive narrative universe.

The magic begins here with ‘Here Comes Captain Boomerang’ (inked by Murphy Anderson), introducing a mercenary Australian marauder who turns a legitimate job opportunity into a criminal career in what is still one of the most original origin tales ever concocted.

The ‘The Madcap Inventors of Central City’ then sees Gardner Fox (creator of the Golden Age Flash) join the creative bullpen with a perhaps ill-considered attempt to reintroduce 1940s comedy sidekicks Winky, Blinky and Noddy to the modern fans. The fact that you’ve never heard of them should indicate how well that went although the yarn, illustrated by Infantino & Joe Giella, is a fast, witty and enjoyably silly change of pace.

The Flash #118 highlighted the period’s (and DC’s) fascination with Hollywood in ‘The Doomed Scarecrow!’ (Anderson inks); a sharp, smart thriller featuring a minor villain with a unique reason to get rid of our hero. after which Wally West and a friend have to spend the night in a “haunted house” in Kid Flash chiller ‘The Midnight Peril!’

The pre-teenaged nephew of Barry’s fiancée Iris West, Wally had been caught in a bizarre and suspicious replay of the lightning strike that created the Monarch of Motion. He naturally became a junior version of the Fastest Man Alive and – when not being mentored by the human thunderbolt – enjoyed his own, smaller-scaled junior adventures in and around the rural township of Blue Valley, Nebraska….

In #119, Broome, Infantino & Anderson relate the adventure of ‘The Mirror-Master’s Magic Bullet’, which our hero narrowly evades, before ‘The Elongated Man’s Undersea Trap’ debuts vivacious newlywed Sue Dibny – calling our hero’s attention to a missing spouse and alien sub-sea slavers in a mysterious and stirring tale.

These earliest tales were historically vital to the development of our industry but, quite frankly, so what? The first exploits of The Flash should be judged solely on their merit, and on those terms, they are punchy, awe-inspiring, beautifully illustrated and captivating thrillers that amuse, amaze and enthral both new readers and old devotees. The title had gelled into a comfortable pattern of two tales per issue alternating with semi-regular book-length thrillers such as the glorious example from Flash #120 (May 1961).

‘Land of Golden Giants!’ is a minor masterpiece: a fanciful science fiction drama wherein a small expedition of explorers – including Iris, Barry and his protégé Wally – are catapulted back millennia to the very moment when the primal super-continent (or at least the parts that would become Africa and South America) begin splitting apart.

Flash stories always found a way to make cutting-edge science integral and interesting. A regular filler-feature was the speed-themed “Flash-Facts” which became a component of the stories themselves via quirky little footnotes.

How many fan-boys turned a “C” to a “B” by dint of their recreational reading? I know I certainly impressed the heck out of a few nuns at the convent school I attended! (But let’s not visualise; simply move on…)

Issue #121 saw the return of a novel old foe on another robbery rampage when ‘The Trickster Strikes Back!’ after which costumed criminality is counterbalanced by Cold War skulduggery in the gripping thriller ‘Secret of the Stolen Blueprint!’ (inked by Anderson).

Another contemporary zeitgeist undoubtedly led to ‘Beware the Atomic Grenade!’, a witty yarn which premiered a new member of Flash’s burgeoning Rogues Gallery when career criminal Roscoe Dillon graduates from second-rate thief to global extortionist The Top by means of a rather baroque thermonuclear device…

In counterpoint, Kid Flash deals with smaller scale catastrophe in ‘The Face Behind the Mask!’ A pop-star with a secret identity (based on a young David Soul who began his showbiz career as a folk singer known as “the Covered Man” because he performed wearing a mask) is blackmailed by a villainous gang of old school friends until whizz kid Wally steps in…

Gardner Fox didn’t write many Flash scripts at this time, but those few he did were all dynamite. None more so than the full-length epic that literally changed the scope of American comics forever.

‘Flash of Two Worlds’ introduced the theory of alternate Earths to the continuity and by extension resulted in the pivotal multiversal structure of the DCU; Crisis on Infinite Earths and all the succeeding cosmos-shaking crossover sagas that grew from it. And, of course, where DC led, others followed…

During a charity benefit gig Flash accidentally slips into another dimension where he finds that the comicbook hero he’s based his own superhero identity upon actually exists. Every adventure Barry had absorbed as an eager child was grim reality to Jay Garrick and his mystery-men comrades on (the controversially designated) Earth-2. Locating his idol, Barry convinces the elder to come out of retirement just as three Golden Age villains – The Shade, Thinker and The Fiddler – make their own wicked comeback. And above all else, Flash #123 is a great read that still stands up today.

Still utterly unaware of the stir that was brewing in fandom’s ranks, it was business as usual with #124’s alien invasion romp ‘Space Boomerang Trap!’ featuring an uneasy alliance between the Scarlet Speedster, Elongated Man and opportunistic Captain Boomerang, before back-up ‘Vengeance Via Television!’ tests Flash’s wits after a mad scientist uses TV waves to expose his secret identity.

‘The Conquerors of Time!’ (Flash #125 December, 1961) is another mind-boggling classic exposing time-travelling aliens’ attempt to subjugate Earth in 2287AD by preventing fissionable elements from forming in 100,842,246 BC. Antediluvian lost races, another key role for Kid Flash (easily the most trusted and responsible sidekick of the Silver Age), the introduction of the insanely cool Cosmic Treadmill plus spectacular action make this a benchmark and landmark of quality graphic narrative.

The drama continues unabated in the next issue as Mirror Master resurfaces in ‘The Doom of the Mirror Flash!’ resulting in another shocking metamorphosis for the Monarch of Motion whilst the second story looks into Barry Allen’s past in ‘Snare of the Headline Huntress!’ Here childhood sweetheart Daphne Dean tries to rekindle Barry’s love to boost her flagging Hollywood profile….

In #127 ‘Reign of the Super-Gorilla!’ Grodd returns to Central City, using his telepathy to run for Governor (not as daft as it sounds, honest!) whilst Kid Flash resolved parental problems in ‘The Mystery of the Troubled Boy!’ after which Flash #128 sees the spectacular debut of time-travelling magician and psychotic egotist Abra Kadabra in ‘The Case of the Real-Gone Flash!’ yet still finds room for intriguing revelatory vignette ‘The Origin of Flash’s Masked Identity!’

Fox and Earth-2 returned in #129’s ‘Double Danger on Earth!’ as Jay Garrick ventures to Earth-1 to save his own world from a doom comet, only to fall foul of Captain Cold and the Trickster. As well as double Flash action, this tale pictorially reintroduces veteran Justice Society stalwarts Wonder Woman, Atom, Hawkman, Green Lantern, Doctor Mid-Nite and Black Canary. Clearly Editor Schwartz had something in mind…

For the meantime though it was back to basics in #130 with ‘Who Doomed the Flash?’; an intriguing mystery seemingly pooling the talents and threats of Trickster, Captain Cold, the Top, Captain Boomerang and the Mirror Master in a superb comic-conundrum, brilliantly solved by the Vizier of Velocity even as his junior partner endures his own problems with the Weather Wizard in ‘Kid Flash Meets the Elongated Man!’

RSVPing to a trendsetting guest-shot in Green Lantern #13 (‘Duel of the Super-Heroes!’ and not included here), the Emerald Crusader again joins with The Flash to defeat alien invaders in the engrossing feature-length epic ‘Captives of the Cosmic Ray!’ before this compelling compilation concludes with #132’s ‘The Heaviest Man Alive!’ – with the speedster revisiting the dimension of Gobdor (see ‘The Man Who Stole Central City’ from #116 and the previous volume).

As well as action adventure and mystery, this tense, super-scientific teaser enjoys a sly poke at the new Television generation and leads into second tale ‘The Farewell Appearance of Daphne Dean’ as the repentant starlet returns to make amends in a quirky little tearjerker…

As always in tales of this vintage, the emphasis is on brains and learning, not gimmicks or abilities, which is why these tales still work nearly half-a-century later. Coupled with the astounding Infantino art, these tales are a captivating snap-shot of when science was our friend and the universe(s) was a place of infinite possibility.

These tales were crucial to the development of our art-form, but, more importantly they are brilliant, awe-inspiring, beautifully realised thrillers to amuse, amaze and enthral both new readers and old lags. This splendid selection is another must-read item for anybody in love with the world of words-in-pictures.
© 1960, 1961, 1962, 2017 DC Comics. All Rights Reserved.

Tales of the Batman: Carmine Infantino


By Carmine Infantino, Gardner Fox, John Broome, Cary Bates, Gerry Conway, Don Kraar, Mike Barr, Geoff Johns & various (DC Comics)
ISBN: 978-1-4012-4755-3

Win’s Christmas Gift Recommendation: Timeless Fun foe One and All … 9/10

Born on May 24th 1925, Carmine Michael Infantino was one of the greatest comic artists America ever produced; a multi-award-winning innovator who was there when comicbooks were born, reshaped the industry in the Silver Age and was still making fans when he died in 2013

As an artist he co-created and initially visualised The Black Canary, Detective Chimp, Pow-Wow Smith, the Silver Age Flash, Elongated Man, Deadman, Batgirl, Dial H for Hero and Human Target and revitalised characters such as Adam Strange and Batman. He worked for many companies, and at Marvel ushered in a new age by illustrating the licensed Star Wars comicbook and working on titles such as Avengers, Daredevil, Ms. Marvel, Nova, Star-Lord and Spider-Woman

His work on two iterations of the Batman newspaper strip are fondly remembered and whilst acting as Art Director and Publisher of National DC oversaw the most critically acclaimed period in the company’s history, ushering in the “relevancy” era and poaching Jack Kirby from Marvel to create the Fourth World, Kamandi, The Demon and others…

Very much – and repeatedly – the right man in the right time and place, Infantino shaped American comicbook history like few others, and this hardcover compendium (and eBook) dedicated to his contributions to the lore of Batman collects the stunning covers from Detective Comics #327-347, 349, 351-371, 500 and Batman #166-175, 181, 183-185, 188-192, 194-199 plus the Bat-Saga stories he drew for Detective #327, 329, 331, 333, 335, 337, 339, 341, 343, 345, 347, 349, 351, 353, 357, 359, 361, 363, 366-367, 369, and 500.

Also included are the contents of The Brave and the Bold #172, 183, 190, 194 and DC Comics Presents: Batman #1: an artistic association cumulatively spanning May 1964 to September 2004.

I’m assuming everybody here loves comics and that we’ve all had the same unpleasant experience of trying to justify that passion to somebody. Excluding your partner (who is actually right – the living room floor is not the place to leave your $£#!D*&$£! funnybooks) even today, many people still have an entrenched and erroneous view of strip art, resulting in a frustrating and futile time as you tried to dissuade them from that opinion.

If so, this collection might be the book you want next time that confrontation occurs, offering breathtaking examples of the prolific association of one the industry’s greatest illustrators with possibly the artform’s greatest creation.

Many of these “Light Knight” sagas stem from a period which saw the Dynamic Duo, remoulded, reshaped and set up for global Stardom – and subsequent fearful castigation from fans – as the template for the Batman TV show of the 1960s. It should be noted, however, that the television producers and researchers took their creative impetus from stories of the era preceding the “New Look Batman” – as well as the original movie serial of the 1940s…

So, what happened?

By the end of 1963, Julius Schwartz had revived much of National/DC’s line – and the entire industry – with his modernization of the superhero, and was then asked to work his magic with the creatively stalled and nigh-moribund Caped Crusader.

Bringing his usual team of top-notch creators with him, Schwartz stripped down the core-concept, downplaying aliens, outlandish villains and daft transformation tales to bring a cool modern take to the capture of criminals: even overseeing a streamlining rationalisation of the art style itself.

The most apparent innovation was a yellow circle around the Bat-symbol, but far more importantly, the stories also changed. A subtle aura of genuine menace had re-entered the comfortable and absurdly abstract world of Gotham City.

Infantino was key to the changeover, which reshaped a legend – but this was while still pencilling Silver Age superstar The Flash – so, despite generating the majority of covers, Infantino’s interior art was limited to alternate issues of Detective Comics with the lion’s share of narrative handled by Bob Kane’s uncredited deputies Sheldon Moldoff, Joe Giella, Chic Stone & others, or occasional guest artists such as Gil Kane…

Punctuated throughout this collection by his chronologically sequenced covers, Infantino’s part in the storytelling revolution began then and kicks off here with Detective #327 – written by John Broome and inked by Joe Giella at the very peak of their own creative powers.

‘The Mystery of the Menacing Mask! is a cunning “Howdunnit?”, long on action and moody peril, as discovery of a criminal “underground railroad” leads Caped Crusaders Batman and Robin to a common thug seemingly able to control the heroes with his thoughts…

‘Castle with Wall-To-Wall Danger!’ (Detective #329 with Broome and Giella in their respective roles) follows: a captivating international thriller which sees the heroes braving a deadly death-trap in Swinging England in pursuit of a dastardly thief.

A rare full-length story in #331 guest-starred Elongated Man (Detective Comics’ back-up feature: a costumed sleuth blending the charm of Nick “Thin Man” Charles with the outré heroic antics of Plastic Man).

The ‘Museum of Mixed-Up Men’ (Broome & Infantino) teamed the eclectic enigma-solvers against a super-scientific felon, whilst in #333 Bat Man & Robin fought against a faux goddess and genuine telepaths in the ‘Hunters of the Elephants’ Graveyard!’, written by Gardner Fox and inked by Giella.

The same team revealed the ‘Trail of the Talking Mask!’ in #335, giving the Dynamic Duo an opportunity to reinforce their sci-fi credentials in a classy high-tech thriller guest-starring private detective Hugh Rankin (of Mystery Analysts of Gotham City fame) before ‘The Deep-Freeze Menace!’ (Detective #337 introduced a fearsome fantasy chiller pitting Batman against a super-powered caveman encased in ice for 50,000 years…

DC’s inexplicable (but deeply cool) long-running love-affair with gorillas resulted in a cracking doom-fable as ‘Batman Battles the Living Beast-Bomb!’ in #339, highlighting the hero’s physical prowess in a duel of wits and muscles against a sinister, super-intelligent simian.

Up until this time the New Look Batman was forging his more realistic path, as the TV series was still in pre-production. The Batman television show (premiering on January 12th, 1966 and running for three seasons of 120 episodes in total) show aired twice weekly for its first two seasons, resulting in vast amount of Bat-awareness, no end of spin-offs and merchandise – including a movie – and the overkill phenomenon of “Batmania”.

No matter how much we might squeal and foam about it, a huge portion of this planet’s population Batman is always going to regard that “Zap! Biff! Pow!” buffoonish costumed boy scout as The Real Deal…

Regrettably this means that the comic stories published during that period have been similarly excoriated and maligned by most Bat-fans ever since. It is true that some tales were crafted with overtones of the “camp” fad, presumably to accommodate newer readers seduced by the arch silliness and coy irony of the show, but no editor of Julius Schwartz’s calibre would ever deviate far from the characterisation that had sustained Batman for nearly thirty years, or the then-recent re-launch which had revitalised the character sufficiently for television to take an interest at all.

Nor would such brilliant writers as John Broome, Bill Finger, Gardner Fox and Robert Kanigher ever produce work which didn’t resonate on all the Batman’s intricate levels just for a quick laugh and a cheap thrill. The artists tasked with sustaining the visual intensity included Infantino, Moldoff, Stone, Giella, Murphy Anderson and Sid Greene, with covers from Gil Kane and Joe Kubert supplementing Infantino’s stunning, trend-setting, fine-line masterpieces.

Most of the tales here reflect those gentler times and editorial policy of focusing on Batman’s reputation as “The World’s Greatest Detective”, so colourful, psychotic costumed super-villains are still in a minority, but there are first appearances for a number of exotic foes who would become regular menaces for the Dynamic Duo in years to come.

Broome & Infantino then detailed the screen-inspired, comedically-catastrophic campaign of ‘The Joker’s Comedy Capers!’ in #341 and the mayhem and mystery continued in Detective Comics #343 (September 1965) with ‘The Secret War of the Phantom General!’: a tense thriller pitting our hard-pressed heroes against a hidden army of gangsters and Nazi war criminals.

Detective #345 debuted a terrifying and tragic new villain in ‘The Blockbuster Invasion of Gotham City!’ (scripted by Fox). Here a monstrous giant with the mind of a child and the raw, physical power of a tank is constantly driven to madness at sight of Batman and only placated by the sight of Bruce Wayne

‘The Strange Death of Batman!’ (Fox, Detective# 347) saw the opening shot of habitual B-list villain the Bouncer in a bizarre experimental yarn which has to be seen to be believed, whereas it’s business as usual when monstrous, microcephalic man-brute returns in ‘The Blockbuster Breaks Loose!’: a blistering, action-fuelled thriller by Fox, Infantino & Giella from Detective #349. This tale sports a cover by Infantino’s colleague Joe Kubert whilst also hinting at the return of a long-forgotten foe…

Detective #351 premiered game-show host turned felonious impresario Arthur Brown in a twisty, puzzle-packed battle of wits detailing ‘The Cluemaster’s Topsy-Turvy Crimes!’ (Fox, Infantino & Sid Greene) after which the action continues with ‘The Weather Wizard’s Triple-Treasure Thefts!’ (Fox/Giella in #353).

The Dynamic Duo battle in spectacular opposition to the Flash’s meteorological arch-enemy: one of the first times a DC villain moved out of his usually stamping grounds whilst Detective #357 delivers a clever secret identity saving puzzler when – apparently – ‘Bruce Wayne Unmasks Batman!’ (Broome, Infantino & Giella) as prelude to big changes in the Batman mythos…

After three seasons (perhaps two and a half would be more accurate) the Batman TV show ended in March, 1968. It had clocked up 120 episodes since the US premiere. The era ended but the series had had an undeniable effect on the world, the comics industry and most importantly on the characters and history of its four-colour inspiration. Most notable was a whole new caped crusader who became an integral part of the DC universe.

The comic-book premiere of that aforementioned new character came in ‘The Million Dollar Debut of Batgirl’ (Detective Comics#359, cover-dated January 1967). Gardner Fox provided art team supreme Infantino & Greene a ripping yarn to introduce Barbara Gordon: mousy librarian and daughter of the venerable Police Commissioner into the superhero limelight. Thus, by the time the third season began on September 14th, 1967, she was well-established among comics fans at least….

A different Batgirl – Betty Kane, teenaged niece of the 1950s Batwoman – was already a nearly-forgotten comics fixture but for reasons far too complex and irrelevant to mention was conveniently ignored to make room for a new, empowered woman in the fresh tradition of Emma Peel, Honey West and the Girl From U.N.C.L.E. She was considered pretty hot too, which is always a plus for television…

Whereas she fought the Penguin on the small screen, her print origin features the no less ludicrous but at least visually forbidding Killer Moth in a clever yarn that still stands up today.

Editor Schwartz always preferred to play-up mysteries and crime conundrums in Detective Comics and #361’s ‘The Dynamic Duo’s Double-Deathtrap!’ was one of Fox’s best, especially as drawn by the now increasingly over-stretched Infantino and Greene. The plot involves Cold War spies and a maker of theatrical paraphernalia; I shall reveal no more to keep you guessing when you read it…

Detective #363 was a full co-starring vehicle as the Dynamic Duo challenged the new Batgirl to deduce Batman’s secret identity whilst tracking down the enigmatic Mr. Brains in ‘The True-False Face of Batman!’ and led to a taut suspense thriller stretching across Detective #366 and 367 – an almost unheard-of event in those cautiously reader-friendly days…

As devised by Fox, Infantino & Greene ‘The Round Robin Death Threats’ involves a diabolical murder-plot threatening to destroy Gotham’s worthiest citizens, with the tension peaking and the drama concluding in high style with ‘Where There’s a Will… There’s a Slay!’: a dark and deadly denouement barely marred by that dreadful title…

It was just a symptom of the times – as is Detective #369 (November 1967) – which somewhat reinforces boyhood prejudices about icky girls in the otherwise classy thriller ‘Batgirl Breaks Up the Dynamic Duo!’

Here Robin seemingly abandons Batman for a curvy new partner, but the best of clandestine reasons, ignominiously signalling – other than for the occasional cover – the end of Infantino’s tenure as a bat-illustrator.

His next contribution on view here came in anniversary landmark Detective Comics #500 (March 1981): part of a huge creative jam-session: specifically examining the legend of the immortal hero in ‘What Happens When a Batman Dies?’

Scripted by Cary Bates and inked by Bob Smith, this chapter co-stars restless revenant Deadman as the Gotham Guardian hovers in a coma between this world and the next, yet still manages to find a way to save himself…

The cover is another collaborative effort with Dick Giordano, José Luis García-López, Joe Kubert and Tom Yeates all joining forces.

Next up; a quartet of tales from The Brave and the Bold, with Jim Aparo providing covers whilst Infantino handled interior art. Issue #172 (March 1981, and inked by Steve Mitchell) paired the Caped Crimebuster with Firestorm in the Gerry Conway scripted ‘Darkness and Dark Fire’, with the World’s Greatest Detective striving to solve the mystery of the Nuclear Man’s periodic mental blackouts, after which #183 (February 1982, written by Don Krarr and inked by Mike DeCarlo) sees our hero join forces with The Riddler to prevent ‘The Death of Batman!’

Scripter Mike Barr and inker Sal Trapani worked with Infantino on B&B #190 (September 1982) and #194 January 1993), respectively challenging the Dark Knight to visit planet Rann and find out ‘Who Killed Adam Strange?’ before subsequently working with the Flash against Doctor Double-X and the Rainbow Raider when they ‘Trade Heroes – And Win!’

One final Infantino fling comes from DC Comics Presents: Batman #1 (September 2004), courtesy of writer Geoff Johns, with inks by Giella and a retro cover from Ryan Hughes, as ‘Batman of Two Worlds’ gets real metaphysical with narrative boundaries as the modern Batman and Robin investigate murder on the set of the 1960s Batman TV show in a bizarrely engaging romp with a mystery villain to expose…

The visual cavalcade then ends on a nostalgic high with ‘Batman and Robin Retail poster’ – AKA the front cover of this titanic tome – possibly the most iconic bat-image of the era.

Whether you tend towards the anodyne light-heartedness of then, the socially acceptable psychopathy of the assorted movie franchises or actually just like the comicbook character, if you can make a potential convert sit down, shut up and actually read these wonderful adventures for all (reasonable) ages, you might find that the old adage “Quality will out” still holds true. And if you’re actually a fan who hasn’t read this classic stuff and revelled in the astounding timeless art, you have an absolute treat in store…
© 1964, 1965, 1966, 1967, 1981, 1982, 1983, 2004, 2014 DC Comics. All Rights Reserved.

JLA Deluxe volume 6


By Joe Kelly, Doug Mahnke, Yvel Guichet, Lewis La Rosa, Darryl Banks, Dietrich Smith & various (DC Comics)
ISBN: 978-1-4012-5136-9

Win’s Christmas Gift Recommendation: Blockbuster, No-Nonsense Entertainment… 8/10

When the Justice League of America – driving force and cornerstone of the Silver Age of Comics – was re-imagined and relaunched in 1997, the sheer bravura quality of the stories propelled the series back to the forefront of industry attention, making as many new fans as it recaptured old ones. The stories were smart, fast-paced, compelling, challengingly large-scale and drawn with effervescent vitality.

With JLA you could see on every page all the work undertaken to make it the best it could be…

The reinvigorated super-squad were a phenomenally hot property at this time, with creative teams coming aboard and moving on with startling rapidity. Writer Joe Kelly’s run on the World’s Greatest Superheroes has some notable moments for drama and action lovers, all contained in this Sixth Deluxe Trade Paperback and eBook compilation.

Contained herein are JLA #61-76 which comprise the majority of this fifth Deluxe Edition (available in hardback, paperback and eBook formats) and collectively spanning February 2002 to February 2003.

Illustrated by Doug Mahnke & Tom Nguyen, the wonderment kicks off with the stand-alone tale ‘Two-Minute Warning’, one of the best “day-in-the-life” type stories ever seen, blending sharp dialogue, spectacular art and a novel format to elevate it beyond the many other attempts to show what everyday means for such god-like beings…

Then 3-part disaster fable ‘Golden Perfect’ unfolds: a tale examining the nature of Truth itself. When Wonder Woman leads the team to the hidden kingdom of Jarhanpur to rescue a baby from a life of hereditary slavery, she encounters a despot whose philosophy counters her belief in objective or absolute truth.

The explosive dispute shatters her magical Golden Lasso of Hestia

All too soon this defeat has astounding repercussions for the entire universe. The broken lasso has destroyed objective truth completely. What people believe becomes the only arbiter of Reality.

The moon is made of green cheese, the world is flat, Earth is the centre of the universe…

As it all unravels, a devastated Amazon Princess must find a way to reconcile her beliefs within the new Reality while the rest of the JLA battle desperately to keep the cosmos alive.

A dynamic end-of-everything tale that challenges the mind as well as stirring the blood, the patented Kelly one-liners, especially from Plastic Man, leaven the tension and heighten the enjoyment in this cracking little epic.

Changing pace and cracking more smiles, ‘Bouncing Baby Boy’ is a wistful, genuinely funny team-up of the mismatched Batman and Plastic Man. This small story looks at the sad side of the eternal clown (that would be Plas, not Bats…), seen through the “cold and emotionless” eyes of the Dark Knight, and provides a welcome change from the Big Stories that increasingly all super-team books comprise.

An extremely potent example of such follows, spanning issues # 66-76. ‘The Obsidian Age’ is an ambitious epic designed to redefine the JLA which begins with ‘The Destroyers Part 1’ as peculiar water-based events and phenomena indicate that Aquaman – believed killed in a recent catastrophe which seemingly eradicated Atlantis – is actually alive and trying to contact his JLA comrades.

When the team are subsequently attacked by an ancient mystical warrior they get their first clue that it’s not “somewhere” but “some when”…

‘The Destroyers Part 2’ finds the heroes recovering from a second attack by the terrifying Tezumak and native shaman Manitou Raven, whose coordinated manipulations bring the JLA into the ruins of ‘Stillborn Atlantis’ and all-out combat with the deranged Ocean Master. When Tempest (the all-grown-up Aqualad, now a powerful magical adept himself) and a conclave of mystic champions, including Zatanna, Faust and Doctors Occult and Fate, are called in to assess the deteriorating situation in the no-longer sunken city, the assembled paladins of science and magic realise that something truly terrible is about to be unleashed….

Renewed assaults from the past indicate another growing global crisis and when the JLA discover a hidden message from Aquaman, they voyage back 3000 years to discover an unsuspected era of Atlantean domination.

With Superman, Batman, Wonder Woman, Flash, Green Lantern, Martian Manhunter and Plastic Man gone, a stand-in team of heroes are appointed to guard the world, but the ancient mastermind behind the menace has also prepared a contemporary trap for the substitute JLA…

Illustrated by Yvel Guichet & Mark Propst, ‘New Blood’ features Zatanna and the Atom trying to stave off a concatenation of clearly unnatural natural disasters with the aid of Green Arrow, Captain Marvel, Firestorm, Jason Blood (with and without Etrigan the Demon), Hawkgirl, reformed villain and troubled soul Major Disaster, Nightwing and new find Faith. There’s even input and some hands-on help from the Justice Society of America uniting to form a desperate scratch-team woefully overmatched and under-trained…

Meanwhile and elsewhen, the strands of mystery are unravelled in ‘Revisionist History’ which finds the time-lost First Team in 1000BC, where an above-the-waves Atlantis leads a coalition of nations and super-warriors in a campaign to conquer the known world by sword and sorcery. This unrecorded episode of human history contravenes all known histories, and clandestine reconnaissance by the JLA reveals an enchantress named Gamemnae is behind the scheme.

However, her plans extend far beyond her own epoch and to that end she has kidnapped the 21st century water-breathing Atlanteans and enslaved their king Aquaman…

Fortunately, Gamemnae’s own team is far from united: Manitou Raven and his bride Dawn are deeply troubled by the venality of their allies and the obvious nobility of the Justice Leaguers…

Back in the future, focus returns to the new team in ‘Transition’ (with art again by Guichet & Propst) as the planet is ravaged by geological catastrophes and Gamemnae’s millennial booby-trap activates, designed to conquer the world of tomorrow by suborning its meta-human and mystic defenders…

In ‘History is Written By…’, Kelly, Mahnke & Nguyen reveal the JLA battling hopeless odds in ancient Atlantis whilst trying to liberate its enslaved, water-breathing, time-switched descendants, whilst in modern times ‘Last Call’ (Guichet & Propst) finds the replacement League faring badly against Gamemnae’s monstrous animated time-trap… until a ghostly message from the past enables them to turn the tide…

The tension mounts as ‘Obsidian’ follows the final tragic battle between the JLA and Gamemnae’s hyper-powered hit-squad The Ancients, revealing how her future assaults began even as Manitou finally succumbs to his conscience and changes sides.

‘Tragic Kingdom’ (by Mahnke, Guichet, Darryl Banks, Dietrich Smith and inkers Nguyen, Propst, Wayne Faucher & Sean Parsons) simultaneously provides the origin and final fall of the deadly Witch-Queen in a cataclysmic confrontation that bends times, breaks the barriers between life and death and costs one of the heroes everything…

In the aftermath the JLA gather to mourn one of their own who has fallen. ‘Picking up the Pieces’ (with art from Lewis LaRosa & Al Milgrom) sees the JLA conclude a 3000-year quest to restore their fallen comrade and re-jig their roster in the dread dire days following the adventure that has left them all forever changed…

By The Way: the action of Obsidian Age takes place immediately after the devastation of DC Crossover Event “Our Worlds At War” – wherein an alien doomsday device named Imperiex almost destroyed the planet – but there’s enough useful background and build-up in the chapters collected here to circumvent any possible confusion should that saga have passed you by…

Engaging, engrossing and especially entertaining, this is a superior superhero slugfest that will appeal to a lot of readers who thought the Fights ‘n’ Tights genre beyond or beneath them…
© 2002, 2003, 2015 DC Comics. All Rights Reserved.

Green Lantern/Green Arrow


By Dennis O’Neil & Neal Adams, with Elliot Maggin, Frank Giacoia, Dick Giordano, Dan Adkins, Berni Wrightson & various (DC Comics)
ISBN: 978-1-4012-3517-8

After the successful revival of The Flash in 1956, DC (or National Comics as they then were) was keen to build on a seemingly resurgent superhero trend. Showcase #22 hit the stands at the same time as the fourth issue of the new Flash comicbook (#108 if you’re the kind who keeps count) with the architects of the Silver Age – editor Julie Schwartz, writer John Broome and artists Gil Kane & Joe Giella – providing a Space Age reworking of a Golden-Age superhero who battled injustice with a magic ring.

Super-science replaced mysticism as Hal Jordan, a young test pilot in California, was transported to the side of a dying alien policeman who had crashed on Earth. Mortally wounded, Abin Sur commanded his power-ring – a device which could materialise thoughts – to seek out a replacement ring-bearer; honest and without fear.

Scanning the planet, it had selected Jordan and brought him to an appointment with destiny. The dying alien bequeathed the ring, a lantern-shaped Battery of Power and his noble profession to the astonished Earthman.

Having established the characters, scenario and narrative thrust of the series that would become the spine of DC continuity, a universe of wonder was opened to wide-eyed readers of all ages. However, after barely a decade of earthly crime-busting, interstellar intrigue and spectacular science fiction shenanigans, the Silver Age Green Lantern became one of the earliest big-name casualties of the downturn in superhero sales in 1969, prompting Editor Schwartz to try something extraordinary to rescue the series.

The result was a bold experiment which created a fad for socially relevant, ecologically aware, mature stories which spread throughout DC’s costumed hero comics and beyond; totally revolutionising the industry and nigh-radicalising many readers.

Tapping relatively youthful superstars-in-waiting Denny O’Neil and Neal Adams to produce the revolutionary fare, Schwartz watched in fascinated disbelief as the resultant thirteen groundbreaking, landmark issues captured the tone of the times, garnering critical praise, awards and valuable publicity from the outside world, whilst simultaneously registering such poor sales that the series was finally cancelled anyway, with the heroes unceremoniously packed off to the back of marginally less-endangered comicbook The Flash.

America at his time was a bubbling cauldron of social turmoil and experimentation. Everyone and everything were challenged on principle, and with issue #76 of Green Lantern (April 1970 and the first issue of the new decade) O’Neil & Adams utterly redefined super-heroism with “Issues”-driven stories transforming complacent establishment masked boy-scouts into uncertain, questioning champions and strident explorers of the enigma of America.

At least the Ring-Slinger was able to perceive his faults, and was more or less willing to listen to new ideas…

Reprinting the contents of Green Lantern #76-87, 89 – barring the all-reprint #88 – and the emerald back-up strips from The Flash #217-219 and 226, this crucial Trade Paperback (and eBook) compiles all the legendary and lauded landmark tales in one spectacular and unmissable volume.

It all kicks off with ‘No Evil Shall Escape My Sight!’ (inked by Frank Giacoia): a true benchmark of the medium, utterly reinventing the concept of the costumed crusader as newly-minted, freshly-bankrupted millionaire Oliver Queen challenges his Justice League comrade’s cosy worldview. All too soon the lofty space-cop painfully discovers real villains wear business suits, have expense accounts, hurt people just because of skin colour and will happily poison their own nests for short-term gain…

The specific villain du jour is a wealthy landlord whose treatment of his poverty-stricken tenants isn’t actually illegal but certainly is wickedly immoral…

Of course, the fact that this yarn is also a brilliantly devious crime-thriller with science-fiction overtones doesn’t exactly hurt either…

‘Journey to Desolation’ in #77 was every bit as groundbreaking.

At the conclusion of the #76 an immortal Guardian of the Universe – known as “the Old Timer” is assigned to accompany the Emerald Duo on a voyage to “discover America”: a soul-searching social exploration into the dichotomies which divide the nation – and a tremendously popular pastime for the nation’s disaffected citizens back then.

The first stop brought the trio to a poverty-stricken mining town run as a private kingdom by a ruthless entrepreneur happy to use agent-provocateurs and Nazi war criminals to keep his wage slaves in line. When a young protest singer looks likely to become the next Bob Dylan and draw unwelcome publicity, he has to be eliminated – as do the three strangers who drive into town at just the wrong moment…

Although the heroes provide temporary solutions and put away viciously human criminals, these tales were always carefully heavy-handed in exposing bigger ills and issues which couldn’t be fixed with a wave of a Green Ring; invoking an aura of helplessness that was metaphorically emphasised during this story when Hal is summarily stripped of much of his power for no longer being the willing, unquestioning stooge of his officious, high-and-mighty alien masters…

The confused and merely-mortal Green Lantern discovers another unpalatable aspect of human nature in ‘A Kind of Loving, a Way of Death!’ when newly-widowed Black Canary joins the peripatetic cast. Seeking to renew her stalled relationship with Green Arrow, she is waylaid by bikers, grievously injured and taken in by a charismatic hippy guru.

Sadly, Joshua is more Manson than Messiah and his brand of Peace and Love only extends to white people: everybody else is simply target practise…

The continuing plight of Native Americans was stunningly highlighted in ‘Ulysses Star is Still Alive!’ as corporate logging interests attempt to deprive a mountain tribe of their very last scraps of heritage, once more causing the Green Knights to take extraordinarily differing courses of action to help…

GL/GA #80 then returns some science fictional gloss in a tale of judicial malfeasance when ‘Even an Immortal Can Die!’ (inked by Dick Giordano), after the Old Timer uses his powers to save Green Lantern rather than prevent a pollution catastrophe in the Pacific Northwest. For his selfish deed he is chastised by his fellow Guardians and dispatched to the planet Gallo for judgement by the supreme arbiters of Law in the universe.

His earthly friends accompany him there and find a disturbing new administration with a decidedly off-kilter view of justice…

Adams’ staggering facility for capturing likenesses added extra-piquancy to this yarn that we’re just not equipped to grasp all these decades later, with the usurping, overbearing villain derived from the Judge of the infamous trial of anti-war protesters “The Chicago Eight”.

Insight into the Guardians’ history underpins ‘Death Be My Destiny!’ when Lantern, Arrow and Canary travel with the now-sentenced and condemned Old Timer to the ancient planet Maltus (that’s a pun, son: just type Thomas Robert Malthus into your search engine of choice or even look in a book).

They arrive on a world literally choking on its own out-of-control population. The uncanny cause of the catastrophe casts an unlovely light on the perceived role and worth of women in modern society…

On a more traditional note #82 enquired ‘How Do You Fight a Nightmare?’ (with additional inks from Bernie Wrightson) as Green Lantern’s greatest foe unleashes Harpies, Alien Amazons and all manner of female furies on the hapless hero before Black Canary and Green Arrow can turn the tide, all whilst asking a few extremely pertinent questions about women’s rights…

‘…And a Child Shall Destroy Them!’ crept into Hitchcock country to reintroduce Hal’s old flame Carol Ferris and take a pop at education and discipline in the chilling tale of a supernal mutant in thrall to a petty and doctrinaire little martinet with delusions of ethical and moral grandeur.

Wrightson also inked #84’s ‘Peril in Plastic’: a staggering attack on out-of-control consumerism, shoddy cost-cutting and the seduction of bread and circuses with costumed villain Black Hand just along for the polemical ride, after which the comics world changed forever in the two-part saga ‘Snowbirds Don’t Fly’ and ‘They Say It’ll Kill Me…But They Won’t Say When!’

Depiction of drug abuse had been strictly proscribed in comicbooks since the advent of the Comics Code Authority, but by 1971 the elephant in the room was too big to ignore and both Marvel and DC addressed the issue in startlingly powerful tales that opened Pandora’s dirty box forever. When the Green Gladiators are drawn into conflict with a vicious heroin-smuggling gang Oliver Queen is horrified to discover his own sidekick had become an addict…

This sordid, nasty tale did more than merely preach or condemn, but actively sought to explain why young people turned to drugs, just what the consequences could be and even hinted at solutions older people and parents might not want to consider. Forty-five years on it might all seem a little naïve, but the earnest drive to do something and the sheer dark power of the story still delivers a stunning punch…

For all the critical acclaim and astonishingly innovative creative work done, sales of Green Lantern/Green Arrow were in a critical nosedive and nothing seemed able to stop the rot. Issue #87 featured two solo tales, the first of which ‘Beware My Power!’ introduced a bold new character to the DCU.

John Stewart is a radical activist: an angry black man always spoiling for a fight and prepared to take guff from no-one. Hal Jordan is convinced the Guardians have grievously erred when they appointed Stewart as Green Lantern’s official stand-in, but after seeing how his proposed substitute responds to an openly racist US presidential candidate trying to foment a race war the Emerald Gladiator is forced to change his tune.

Meanwhile, bankrupted millionaire Oliver Queen faces a difficult decision when the retiring Mayor of Star City invites him to run for his office. Written by Elliot Maggin ‘What Can One Man Do?’ poses fascinating questions for the proud rebel by inviting him to join “the establishment” he despises, and actually do some lasting good. His decision is muddied by well-meaning advice from his fellow superheroes and the tragic consequences of a senseless street riot…

Issue #88 was a collection of reprints (not included here) but the title went out on an evocative, allegorical high note in #89 as ‘…And Through Him Save a World…’ (inked by Adams) balances jobs and self-interest at Carol Ferris’ aviation company against clean air and pure streams in an naturalistic fable wherein an ecological Christ-figure makes the ultimate sacrifice to save our planet and where all the Green Heroes’ power cannot affect the tragic outcome…

Although the groundbreaking series folded there, the heroics resumed a few months later in the back of The Flash #217 (August-September 1972). ‘The Killing of an Archer!’ opens a run of short episodes which eventually led to Green Lantern regaining his own solo series. The O’Neil, Adams & Giordano thriller relates how Green Arrow makes a fatal misjudgement and accidentally ends the life of a criminal he is battling. Devastated, the broken swashbuckler abandons his life and heads for the wilderness to atone or die…

The next episode ramps up the tension as a plot against the Archer is uncovered by Green Lantern and Black Canary in ‘Green Arrow is Dead!’ whilst ‘The Fate of an Archer’ sees Canary critically injured and GL hunting down Oliver just in time to save her life…

Adams moved on to other projects then but returned for one last hurrah with O’Neil and Giordano in Flash #226 as ‘The Powerless Power Ring!’ reveals that the mightiest weapon in the universe is useless if the man wielding it is not up to the task…

As well as these magnificent, still-challenging epics – superbly recoloured by Cory Adams and Jack Adler – this chronicle also reprints the seven all-new Adams covers created for a 1983 reprint miniseries and completing the experience of challenging tales of social injustice which signalled the end of comics’ Silver Age. This volume closed one chapter in the life of Green Lantern and opened the doors to today’s sleek and stellar sentinel of the stars. It’s ageless and evergreen and should have pride of place on every Fights ‘n’ Tights Fanboy’s most accessible bookshelf.
© 1970, 1971, 1972, 1973, 1974, 1983, 1992, 1993, 2012, DC Comics. All Rights Reserved.

Batman: Harley and Ivy The Deluxe Edition


By Paul Dini, Bruce Timm, Ty Templeton, Shane Glines, Dan DeCarlo, Ronnie Del Carmen, Rick Burchett, Stéphane Roux & various (DC Comics)
ISBN: 978-1-4012-6080-4

Win’s Christmas Gift Recommendation: Psychosis and Spice and Everything Nice… 9/10

Created by Paul Dini & Bruce Timm, Batman: The Animated Series aired in the US from September 5th 1992 to September 15th 1995. Ostensibly for kids, the breakthrough TV animation series revolutionised everybody’s image of the Dark Knight and immediately began feeding back into the print iteration, leading to some of the absolute best comicbook tales in the hero’s many decades of existence.

Employing a timeless visual style dubbed “Dark Deco”, the show mixed elements from all iterations of the character and, without diluting the power, tone or mood of the premise, reshaped the grim avenger and his extended team into a wholly accessible, thematically memorable form that the youngest of readers could enjoy, whilst adding shades of exuberance and panache that only most devout and obsessive Batmaniac could possibly object to…

The series offered a superbly innovative retro makeover for many classics super-villains and even added one unexpected candidate to the Rogues Gallery. Harley Quinn wasn’t supposed to be a star… or even an actual comicbook character. As would soon become apparent, however, the manic minx had her own off-kilter ideas on the matter…

Harley was first seen as the Clown Prince of Crime’s slavishly adoring, abuse-enduring assistant in Joker’s Favor (airing on September 11th 1992) where she instantly captured the hearts and minds of millions of viewers.

From there on she began popping up in the licensed comicbook and – always stealing the show – infiltrated mainstream DC comicbook continuity and into her own title. Along the way a flash of inspired brilliance led to her forming a unique relationship with toxic floral siren and plant-manipulating eco-terrorist Poison Ivy… a working partnership that delivered a bounty of fabulously funny-sexy yarns…

Collecting the eponymous 3-issue miniseries from 2004 plus Batman Adventures Annual #1 (1994), Batman Adventures Holiday Special #1 (1995), Batman and Robin Adventures #8 (July 1996), Batgirl Adventures #1 (1998) and material from Batman: Gotham Knights #14 (April 2001) and Batman Black and White #3 (2014) this deluxe hardback (and eBook) is an amazing cornucopia of comic treasures to delight young and old alike.

It begins with a global-spanning romp written by Dini, illustrated by Timm & Shane Glines from Batman: Harley & Ivy #1-3 as the ‘Bosom Buddies’ have a spat that wrecks half of Gotham before escaping to the Amazon together to take over a small country responsible for much of the region’s deforestation and spreading a heady dose of ‘Jungle Fever!’.

Once Batman gets involved the story suddenly shifts to Hollywood and the very last word in creative commentary on Superheroes in the movie business as ‘Hooray for Harleywood!’ delivers showbiz a devastating body blow it can never recover from….

As we all know, Harley is (literally) insanely besotted with killer clown The Joker and next up Dini, Dan DeCarlo & Timm wordlessly expose her profound weakness for that so very bad boy as she’s released from Arkham Asylum only to be seduced back into committing crazy crimes and stuck back in the pokey again, all in just ‘24 Hours’

‘The Harley and the Ivy’ comes from Batman Adventures Holiday Special #1 wherein Dini and Ronnie Del Carmen depict the larcenous ladies going on an illicit shopping spree after kidnapping Bruce Wayne thanks to a dose of Ivy’s mind-warping kisses…

‘Harley and Ivy and… Robin’ (Batman and Robin Adventures #8, by Dini, Ty Templeton & illustrator Rick Burchett) features more of the same except here the bamboozled sidekick becomes an ideal Boy Toy Wonder: planning their crimes, giving soothing foot-rubs and bashing Batman until a little moment of green-eyed jealously spoils the perfect set-up…

Batgirl Adventures #1 was the original seasonal setting for ‘Oy to the World’ (Dini & Burchett) as plucky teen Babs Gordon chases thieving thrill-seeking Harley through Gotham’s festive streets and alleys only to eventually team up with the jaunty jester to save Ivy from murderous Yakuza super-assassins.

Batman: Gotham Knights #14 yielded up brilliantly dark but saucily amusing tale ‘The Bet’ written by Dini and illustrated by Del Carmen. Incarcerated once more in Arkham, the Joker’s frustrated paramour and irresistible, intoxicatingly lethal Ivy indulge in a little wager to pass the time: namely, who can kiss the most men whilst remaining in custody. This razor-sharp little tale manages to combine innocent sexiness with genuine sentiment, and still packs a killer punch-line after the Harlequin of Hate unexpectedly pops in…

The madcap glamour-fest finishes with a moment of monochrome suspense as ‘Role Models’ (Dini & Stéphane Roux) sees a little girl escape her manic kidnapper and find sanctuary of a sort with the pilfering odd couple…

DC Comics sat on a goldmine of quality product for years but now they’re finally unleashing a blizzard of all-ages collections and graphic novels such as this one: child-friendly iterations of their key characters all stemming from the Paul Dini/Bruce Timm Batman series. These adventures are consistently some of the best comics produced of the last three decades and should be eternally permanently in print, if only as a way of attracting new young readers to the medium.

Batman: Harley and Ivy is a frantic, laugh-packed hoot that manages to be daring and demure by turns. An absolute delight, well worth the price of admission and an irresistible seasonal treasure to be enjoyed over and over again.
© 1994, 1995, 1996, 1998, 2001, 2004, 2014, 2016 DC Comics. All Rights Reserved.

Lex Luthor: A Celebration of 75 Years


By Jerry Siegel & Joe Shuster, Bill Finger, Edmund Hamilton, Len Wein, Cary Bates, Elliot S. Maggin, John Byrne, Roger Stern, Grant Morrison, Greg Rucka, Brian Azzarello, Paul Cornell, Geoff Johns, John Sikela, Wayne Boring, Curt Swan, Jackson Guice, Howard Porter, Matthew Clark, Lee Bermejo, Frank Quitely, Pete Woods, Doug Mahnke & various (DC Comics)
ISBN: 978-1-4012-6207-5

Win’s Christmas Gift Recommendation: A Sound Reason to Keep up with Science Classes as well as Reading… 9/10

Closely paralleling the evolution of the groundbreaking Man of Steel, the exploits of the mercurial Lex Luthor are a vital aspect of comics’ very fabric. In whatever era you choose, the ultimate mad scientist epitomises the eternal feud between Brains and Brawn and over those decades has become the Man of Steel’s true antithesis and nemesis as well as an ideal perfect indicator of what different generations deem evil.

This stunning compilation – part of a dedicated series introducing and exploiting the comics pedigree of venerable DC icons – is available in hardback Trade Paperback and digital formats and offers a sequence of snapshots detailing how Luthor has evolved in his never-ending battle with Superman.

The groundbreaking appearances selected are preceded here by a brief critical analysis of the significant stages in the villain’s development, beginning with ‘Part I: 1940-1969 The Making of a Mastermind’. After history and deconstruction comes sinister adventure as the grim genius debuted in ‘Europe at War Part 2’ (by Jerry Siegel & Joe Shuster from Action Comics #23, April 1940).

Although not included here Action #22 had loudly declared ‘Europe at War’ – a tense and thinly-disguised call to arms for the still neutral USA – and as the Man of Tomorrow tried to stem the bloodshed the tale became a continued story (almost unheard of in those early days of funny-book publishing).

Spectacularly concluding in #23, Clark Kent’s European investigations revealed a red-headed fiend employing outlandish science to foment war for profit and intent on conquering the survivors as a modern-day Genghis Khan. Of course, the Man of Steel strenuously objected…

Next comes ‘The Challenge of Luthor’ from Superman #4 (Spring/March1940) and created at almost the same time: a landmark clash with the rogue scientist who, back then, was still a roguish red-headed menace with a bald and pudgy henchman. Somehow in the heat of burgeoning deadlines, master got confused with servant in later adventures and the public perception of the villain irrevocably crystalized as the sinister slap-headed super-threat we know today…

This story – by Siegel & Shuster – involves an earthquake machine and ends with Luthor exhausting his entire arsenal of death-dealing devices in attempts to destroy his enemy with no negligible effect…

From Superman #17 (July 1942), ‘When Titans Clash’, by Siegel & John Sikela, depicts how the burly bald bandit uses a mystic powerstone to survive his justly deserved execution and steals Superman’s abilities. However, the Action Ace stills maintains his wily intellect and outsmarts his titanically-empowered foe…

Jumping ahead ten years, ‘Superman’s Super Hold-Up’ World’s Finest Comics #59 (July 1952, by Bill Finger, Wayne Boring & Stan Kaye) is a supremely typical duel of wits in which the Einstein of Crime renders the Metropolis Marvel helpless with the application of a devilish height- and pressure-sensitive mega explosive device – but only for a little while…

World’s Finest Comics #88 (June 1957) provides ‘Superman and Batman’s Greatest Foes!’ (by Edmond Hamilton, Dick Sprang & Stan Kaye) which finds “reformed” master criminals Lex and the Joker ostensibly setting up in the commercial robot business – which nobody really believed – and as it happens quite correctly…

As the mythology grew and Luthor became a crucial component of Superman’s story, the bad boy was retroactively introduced into the hero’s childhood. ‘How Luthor Met Superboy!’ (from Adventure Comics #271, April 1960 by Siegel & Al Plastino) details how Superboy and the budding genius were pals until a lab accident burned off the human’s hair and in his prideful fury Lex blamed the Kryptonian and swore revenge…

In ‘The Conquest of Superman’ (Action Comics #277, June 1961 by Bill Finger, Curt Swan & John Forte) the authorities paroled Lex to help with an imminent crisis only to have the double-dealer escape as soon as the problem was fixed. By the time Superman returned to Earth, Luthor was ready for him…

Superman #164, October 1963, featured ‘The Showdown between Luthor and Superman’ (by Hamilton, Swan & George Klein): the ultimate Silver Age confrontation between the Caped Kryptonian and his greatest foe, pitting the lifelong foes in an unforgettable confrontation on the post-apocalyptic planet Lexor – a lost world of forgotten science and fantastic beasts – which resulted in ‘The Super-Duel!’ and displayed a whole new side to Superman’s previously two-dimensional arch-enemy.

Part II: 1970-1986 Luthor Unleashed previews how a more sophisticated readership demanded greater depth in their reading matter and creators responded by adding a human dimension to the avaricious mad scientist, as seen in ‘The Man Who Murdered the Earth’ from Superman #248 (February 1972 by Len Wein, Swan & Murphy Anderson).

Here Luthor dictates his final testament after creating a Galactic Golem to destroy his sworn enemy, and ponders how his obsession caused the destruction of Earth…

For the 45th anniversary of Action Comics Superman’s two greatest enemies – the other being Brainiac – were radically re-imagined for an increasingly harder, harsher world. ‘Luthor Unleashed’ in issue #544 (June 1983, by Cary Bates Swan & Murphy Anderson) saw the eternal duel between Lex and Superman lead to the destruction of Lexor and death of Luthor’s new family after the techno-terror once again chose vengeance over love. Crushed by guilt and hatred, the maniacal genius reinvents himself as an implacable human engine of terror and destruction…

Elliot S. Maggin, Swan & Al Williamson then offer a glimpse into the other motivating force in Luthor’s life by exposing ‘The Einstein Connection’ (Superman #416, February 1986) wherein a trawl through the outlaw’s life reveals a hidden link to the greatest physicist in history…

The Silver Age of comicbooks had utterly revolutionised a flagging medium, bringing a modicum of sophistication to the returning sub-genre of masked mystery men. However, after decades of cosy wonderment, Crisis on Infinite Earths transformed the entire DC Universe and led to the creation of a harder, tougher Superman. John Byrne’s radical re-imagining was most potently manifested in Luthor, who morphed from brilliant, obsessed bandit to ruthless billionaire capitalist… as seen in the introduction to Part III: 1986-2000 Captain of Industry

The tension begins with ‘The Secret Revealed’ (Superman #2, February 1987 by John Byrne, Terry Austin & Keith Williams) when the relentless tycoon kidnaps everyone Superman loves to learn his secret and after collating all the data obtained by torture and other means jumps to the most mistaken conclusion of his misbegotten life…

‘Metropolis – 900 Miles’ (Superman volume 2 #9, September1987 by Byrne, & Karl Kesel) then explores the sordid cruelty of the oligarch as he cruelly torments a pretty waitress with a loathsome offer and promises of a new life…

‘Talking Heads’ appeared in Action Comics #678 (June 1992, by Roger Stern, Jackson Guice & Ande Parks) set after Luthor – riddled with cancer from constantly wearing a green Kryptonite ring to keep Superman at arms’ length – has secretly returned to Metropolis as his own son in a hastily cloned new young and handsome body. Acting as a philanthropist and with Supergirl as his girlfriend/arm candy, young Luthor has everybody fooled, Sadly, everything looks like falling apart when rogue geneticist Dabney Donovan is arrested and threatens to tell an incredible secret he knows about the richest man in town…

‘Hostile Takeover’ comes from JLA #11 1997) wherein Grant Morrison, Howard Porter & John Dell opened interstellar saga ‘Rock of Ages’ with the Justice League facing a newly-assembled, corporately-inspired Injustice Gang organised by Lex and run on his ruthlessly efficient commercial business model.

Superman, Batman, Wonder Woman, Martian Manhunter, Flash, Green Lantern and Aquaman are targeted by a coalition of arch-enemies comprising Chairman-of-the-Board Lex, the Joker, Circe, Mirror Master, Ocean Master and Doctor Light with ghastly doppelgangers of the World’s Greatest Heroes raining destruction down all over the globe.

Even with new members Aztek and second generation Green Arrow Connor Hawke on board, the enemy are running the heroes ragged, but the stakes change radically when telepath J’onn J’onzz detects an extinction-level entity heading to Earth from deep space…

The action and tension intensify when the cabal press their advantage whilst New God Metron materialises, warning the JLA that the end of everything is approaching.

As ever, these snippets of a greater saga are more frustrating than fulfilling, so be prepared to hunt down the complete saga. You won’t regret it…

A true Teflon businessman, Lex ended the millennium running for President and Part IV: 2000-Present 21st Century Man follow a prose appraisal with ‘The Why’ from President Luthor Secret Files and Origins #1 (2000, by Greg Rucka, Matthew Clark & Ray Snyder). Here the blueprint to power and road to the White House is deconstructed, picturing the daily frustrations and provocations which inspired the nefarious oligarch to throw his hat into the political ring…

The next (frustratingly incomplete) snippet comes from a miniseries where the antagonist was the star. ‘Lex Luthor Man of Steel Part 3’ by Brian Azzarello & Lee Bermejo offers a dark and brooding look into the heart and soul of Superman’s ultimate and eternal foe: adding gravitas to villainy by explaining Lex’s actions in terms of his belief that the heroic Kryptonian is a real and permanent danger to the spirit of humanity.

Luthor – still believed by the world at large to be nothing more than a sharp and philanthropic industrial mogul – allows us a peek into his psyche: viewing the business and social (not to say criminal) machinations undertaken to get a monolithic skyscraper built in Metropolis. The necessary depths sunk to whilst achieving this ambition, and Lex’s manipulating Superman into clashing with Batman, are powerful metaphors, but the semi-philosophical mutterings – so very reminiscent of Ayn Rand’s The Fountainhead – although flavoursome, don’t really add anything to Luthor’s character and even serve to dilute much of the pure evil force of his character.

Flawed characters truly make more believable reading, especially in today’s cynical and sophisticated world, but such renovations shouldn’t be undertaken at the expense of the character’s heart. At the end Luthor is again defeated: diminished without travail and nothing has been risked, won or lost. The order restored is of an unsatisfactory and unstable kind, and our look into the villain’s soul has made him smaller, not more understandable.

Lee Bermejo’s art, however, is astoundingly lovely and fans of drawing should consider buying this simply to stare in wonder at the pages of beauty and power that he’s produced here. Or read the entire story in its own collected edition…

Rather more comprehensive and satisfying is ‘The Gospel According to Lex Luthor’ as first seen in All-Star Superman #5. Crafted by Morrison, Frank Quitely & Jamie Grant from September 2006, here an unrepentant Luthor on Death Row grants Clark Kent the interview of his career and scoop of a lifetime, after which ‘The Black Ring Part 5’ (Action Comics #894, December 2010 by Paul Cornell & Pete Woods) confirms the genius’ personal world view as Death of the Endless stops the universe just so she can have a little chat with Lex and see what he’s really like…

This epic trawl through the villain’s published life concludes with a startling tale from Justice League volume 2, #31 (August 2014) as the post-Flashpoint, re-rebooted New 52 DCU again remade Lex into a villain for the latest generation: brilliant, super-rich, conflicted and hungry for public acclaim and approval. In ‘Injustice League Part 2: Power Players’ by Geoff Johns, Doug Mahnke, Keith Champagne & Christian Alamy, bad-guy Luthor has helped save the world from extradimensional invaders and now wants to be a hero. His solution is to make the real superheroes invite him to join the Justice League, and that can be accomplished by ferreting out Batman’s secret identity and blackmailing the Dark Knight into championing his admission…

Lex Luthor is arguably the most recognizable villain in comics and can justifiably claim that title in whatever era you choose to concentrate on; goggle-eyed Golden Age, sanitised Silver Age or malignant modern and Post-Modern milieus. This book captures just a fraction of all those superb stories and offers a delicious peek into the dark, unhealthy side of rivalry and competition…

This monolithic testament to the inestimable value of a good bad-guy is a true delight for fans of all ages and vintage.
© 1940, 1942, 1952, 1954, 1957, 1960, 1961, 1963, 1972, 1983, 1986, 1987, 1992, 1997, 2001, 2005, 2006, 2007, 2010, 2014, 2015 DC Comics. All Rights Reserved.

Batman: A Death in the Family


By Jim Starlin, Marv Wolfman, Jim Aparo, George Pérez & various (DC Comics)
ISBN: 978-1401225162 (HC)                        978-1-4012-3274-0 (TPB)

Modern comicbooks live or die on the strength of their “Special Event” publishing stunts but every so often such storylines can get away from editors and publishers and take on a life of its own. This usually does not end well for our favourite art form, as the way the greater world views the comics microcosm is seldom how we insiders and cognoscenti see it. Just check out the media frenzies that grew around the Death of Superman or Death of Captain America crossovers…

One of the most controversial comics tales of the last century saw an intriguing marketing attention-grabber go spectacularly off the rails – for all the wrong reasons – to become instantly notorious whilst simultaneously and sadly masking the real merits of the piece.

Created by Bob Kane, Bill Finger & Jerry Robinson, Robin, the Boy Wonder debuted in Detective Comics #38 (April 1940): a juvenile circus acrobat whose parents were murdered by a greedy mob boss. The story of how Batman took the orphaned Dick Grayson under his scalloped wing and trained him to fight crime has been told, retold and revised many times over the decades and still undergoes the odd tweaking to this day

The child Grayson fought beside Batman until 1970 when, as a sign of the turbulent times, he flew the nest, to become a Teen Wonder and college student. His invention as a junior hero for younger readers to identify with had inspired an incomprehensible number of costumed sidekicks and kid crusaders throughout the industry, and Grayson continued in similar vein for the older, more worldly-wise readership of America’s increasingly rebellious youth culture.

Robin even had his own solo series in Star Spangled Comics from 1947-1952, a solo spot in the back of Detective Comics from the end of the 1960s which he alternated and shared with Batgirl, and a starring feature in anthology utility comic Batman Family. During the 1980s the young warrior led the New Teen Titans, re-established a turbulent working relationship with Batman and reinvented himself as Nightwing. This of course left the post of Robin open…

After Grayson’s departure Batman worked alone until he caught a streetwise young urchin trying to steal the Batmobile’s tires. Debuting in Batman #357 (March 1983) this lost boy was Jason Todd, and eventually the little thug became the second Boy Wonder (#368, February 1984), with a short but stellar career, marred only by his impetuosity and tragic links to one of the Caped Crusader’s most unpredictable foes…

Todd had serious emotional problems that became increasingly apparent in the issues leading up to A Death in the Family wherein the street kid became more callous and brutal in response to the daily horrors he was being exposed to. When he caused the death of a vicious, abusive drug-dealer with diplomatic immunity, Todd entered a spiral that culminated in the first unforgettable story-arc collected in this volume (available in hardcover, trade paperback and digital editions), collectively comprising Batman #426-429, and #440-442 as well as New Teen Titans #60-61 and material from Batman Annual #25.

As Batman #426 (December 1988) opens, Jason is acting ever more violently. Seemingly incapable of rudimentary caution, he is suspended by Batman who believes the boy has not adjusted to the death of his parents. Meanwhile, the Joker is again on the loose. But rather than his usual killing frenzy, the Clown Prince is after mere cash, as the financial disaster of “Reaganomics” has depleted his coffers – meaning he can’t afford his outrageous signature murder gimmicks…

Without purpose, Jason wanders the streets where he grew up. When he sees an old friend of his parents, she reveals a shocking secret. The woman who raised him was not his birth-mother…

She knows of a box of personal papers indicating three women, each of whom might be his true mother. Lost and emotionally volatile, Jason sets out to track them down…

His potential mother is either Lady Shiva, world’s deadliest assassin, Mossad agent Sharmin Rosen or Dr. Sheila Haywood, a famine relief worker in Ethiopia. As the lad bolts for the Middle East and a confrontation with destiny, he is unaware Batman is also in that troubled region, hot on the Joker’s trail as the Maniac of Mirth attempts to sell a stolen nuclear missile to any terrorist who can pay…

The estranged heroes accidentally reunite to foil the plot, and Jason crosses Rosen off his potential mom-list. As Batman offers to help Jason check the remaining candidates the fugitive Joker escapes to Ethiopia. After eliminating Shiva, who has been training terrorists in the deep desert, the heroes finally get to Jason’s true mother Sheila Haywood, unaware that she has been blackmailed into a deadly scam involving stolen relief supplies with the Clown Prince of Crime…

I’m not going to bother with the details of the voting fiasco that plagues all references to this tale: it’s all copiously detailed elsewhere (just Google and see) but suffice to say that to test then-new marketing tools a 1-900 number was established and – thanks to an advanced press campaign – readers were offered the chance to vote on whether Robin would live or die in the story. You can even see the original ad reproduced here…

Jason dies.

The kid had increasingly become a poor fit in the series and this storyline galvanised a new direction with a darker, more driven Batman. The changes came almost immediately as Joker, after killing Jason in a chilling, unforgettably violent manner, becomes UN ambassador for Iran (later revised as the fully fictional Qurac – just in case) and – at the personal request of the Ayatollah himself – attempted to kill the entire UN General Assembly during his inaugural speech.

With echoes of Frank Miller’s The Dark Knight Returns, Superman then becomes a government watchdog tasked with stopping Batman from breaching diplomatic immunity as the vengeance-hungry Caped Crusader attempts to stop the Joker at any cost, leading to a spectacular yet chillingly inconclusive conclusion with the portents of dark days to come…

And here is the true injustice surrounding this tale: the death of Robin (who didn’t even stay dead) and the voting debacle took away from the real importance of this story – and perhaps deflected some real scrutiny and controversy. Starlin had crafted a clever and bold tale of real world politics and genuine issues which most readers didn’t even notice…

Terrorism Training Camps, Rogue States, African famines, black marketeering, charity relief fraud, Economic, Race and Class warfare, diplomatic skulduggery and nuclear smuggling all featured heavily, as did such notable hot-button topics as Ayatollah Khomeini, Reagan’s Cruise Missile program, the Iran-Contra and Arms for Hostages scandals and the horrors of Ethiopian refugee camps.

Most importantly, it signalled a new and fearfully casual approach to violence and death in comicbooks.

This is a superbly readable tale, morally challenging and breathtakingly audacious – but it’s controversial in all the wrong places and for all the wrong reasons. But don’t take my word for it: read it and see for yourself.

The saga is appended here by an afterword from Marv Wolfman, before the sequel he penned introduces the third kid to don the cape and pixie boots…

After Grayson’s departure and Jason’s death the shock and loss traumatised Batman. Forced to re-examine his own origins and methods, he becomes a far darker knight…

After a period of increasingly undisciplined encounters Batman is on the very edge of losing not just his focus but also his ethics and life: seemingly suicidal on his frequent forays into the Gotham nights. Interventions from his few remaining friends and associates prove ineffectual. Something drastic had to happen if the Dark Knight is to be salvaged.

Luckily there was an opening for a sidekick…

The second story arc here is a crossover tale originally running in Batman #440-442 and New Teen Titans #60-61 from October to December 1989. Plotted by Wolfman and George Pérez, scripted by Wolfman with the Batman chapters illustrated by Jim Aparo & Mike DeCarlo, and the Titans sections handled by Pérez, Tom Grummett & Bob McLeod, a new character enters the lives of the extended Batman Family; a remarkable child who will change the shape of the DC Universe.

‘Suspects’ sees Batman rapidly burning out, but not only his close confederates but also an enigmatic investigator and a mystery villain have noticed the deadly deterioration. However, as the criminal mastermind embroils the wildly unpredictable Two-Face in his scheme, the apparently benevolent voyeur is hunting for Dick Grayson: a mission successfully accomplished in second chapter, ‘Roots’.

The first Robin had become disenchanted with the adventurer’s life, quitting the New Teen Titans and returning to the circus where the happiest and most tragic days of his life occurred. Here he is confronted by a young boy who has deduced the secret identities of both Batman and Robin…

‘Parallel Lines’ then unravels the enigma of Tim Drake, who as a toddler was in the audience the night the Flying Graysons were murdered. Tim was an infant prodigy, and when, months later he saw new hero Robin perform the same acrobatic stunts as Dick Grayson, he instantly realises who the Boy Wonder must be – and thus, by extrapolation, the real identity of Batman.

A passionate fan, Drake followed the Dynamic Duo’s exploits for a decade: noting every case and detail. He knew when Jason Todd became Robin and was moved to act when his murder led to the Caped Crusader going catastrophically off the rails.

Taking it upon himself to fix his broken heroes, Drake determines to convince the “retired” Grayson to became Robin once more – before Batman makes an inevitable, fatal mistake. It might all be too little too late, however, as in ‘Going Home!’, Two-Face makes his murderous move against a severely sub-par Gotham Guardian…

Concluding with a raft of explosive and highly entertaining surprises in ‘Rebirth’, this long-overlooked Bat-saga introduces the third Robin (who would get into costume only after years of training – and fan-teasing) whilst acknowledging both modern sentiments about child-endangerment and the classical roles of young heroes in heroic fiction. Perhaps a little slow and definitely a bit too sentimental in places, this is nevertheless an excellent, key Batman story, and one no fan should be unaware of.

This combined compilation offers also a full cover gallery by Mike Mignola & Pérez plus a lost treasure for fans and aficionados. Printed comics are produced with a long lead-in time so when the phone poll to determine Jason’s fate was launched, the editors had to prepare for both outcomes. Wrapping up proceedings here is the alternate final page by Aparo & DeCarlo depicting Robin’s survival to gratify the dreams of those who originally voted against what these days would have been agonisingly and inappropriately dubbed “R-exit”…

Potent, punchy and eminently readable, this is a bold Bat-treat well worth tracking down and devouring.
© 1988,1989, 2006, 2011 DC Comics. All Rights Reserved.

Batman and the Outsiders volume 1


By Mike W. Barr, Marv Wolfman, Jim Aparo, George Pérez & various (Marvel)
ISBN: 978-1401268121 (HC)

During the early 1980s the general trend of comics sales was yet another downturn – although team-books were holding their own – and the major publishers were less concerned with experimentation than with consolidation. Many popular titles were augmented by spin-offs, a recurring tactic in publishing troughs.

At the time the Dark Knight was the star of two and two half titles, sharing World’s Finest Comics with Superman (until its cancellation in 1986) and appearing with rotating guest-stars in The Brave and the Bold, as well as his regular lead spots in both Batman and Detective Comics. He was also a member of the Justice League of America.

In July 1983 B&B was cancelled with issue #200, but inside was a preview of a new Bat-title. One month later Batman and the Outsiders debuted…

All the details can be found in ‘Out with the Bold, in with The Outsiders’: scripter Mike W. Barr’s introductory reminiscence to this commemorative hardback collection (also available as an eBook) gathering a daring departure for the Gotham Gangbuster and re-presenting The Brave and the Bold #200, BATO #1-13 and a crossover episode which spread into New Teen Titans #37, collectively spanning July 1983-August 1984.

The core premise of the new series was that Batman became increasingly convinced that the JLA was not fit for purpose; that too many problems were beyond their reach because they were hamstrung by international red tape and, by inference, too many laws.

It all kicks off in ‘Wars Ended… Wars Begun!’ with a revolution in the European nation of Markovia (nebulously wedged into that vague bit between France, Belgium and Russia) and details a telling personal crisis when Bruce Wayne’s friend Lucius Fox goes missing in that war-torn country. As neither the US State Department nor his fellow superheroes will act, Batman takes matters into his own hands. He begins sniffing around only to discover that a number of other metahumans, some known to him and others new, are also sneaking about below the natives’ radar.

Markovia’s monarchy is threatened by an attempted coup, and is being countered by the King’s unorthodox hiring of Dr. Jace, a scientist specialising in creating superpowers. When King Victor dies, Prince Gregor is named successor whilst his brother Brion is charged with finding their sister Tara who has been missing since she underwent the Jace Process.

To save his sister and his country, Brion submits to the same procedure. Meanwhile two more Americans are clandestinely entering the country…

Rex (Metamorpho) Mason is a chemical freak able to turn into any element, and he wants Jace to cure him, whereas Jefferson (Black Lightning) Pierce is infiltrating Markovia as Batman’s ace-in-the-hole. Things go badly wrong when a ninja assassin kills the General Pierce is negotiating with, and he is blamed. As Batman attempts to extricate him the Caped Crusader finds a young American girl in a bombed-out building: a teenager with fantastic light-based superpowers… and amnesia.

As Prince Brion emerges from Jace’s experimental chamber, revolutionaries attack and not even his new gravity and volcanic powers, or the late-arriving Metamorpho, can stop them. Brion is shot dead and dumped in an unmarked grave whilst the Element Man joins Batman, who – encumbered by the girl – is also captured by the rebels. The heroes and Dr. Jace are the prisoners of the mysterious Baron Bedlam

The second issue provides the mandatory origin and plans of the Baron, but while he’s talking the new heroes are mobilising. Like the legendary Antaeus, Brion (soon to be known as Geo-Force) is re-invigorated by contact with Earth and rises from his grave, whilst the girl (code-named Halo) is found by the ninja ‘Katana’.

Together they invade the Baron’s HQ during ‘Markovia’s Last Stand!’ Not to be outdone, the captive heroes break free and join forces with the newcomers to defeat the Baron, who now has powers of his own courtesy of the captive Jace.

As introductory stories goes, this is well above average, with plenty of threads laid for future development, and the tried-&-tested super-team formula (a few old and a few new heroes thrown together for a greater purpose) that worked so well with the New X-Men and New Teen Titans still proved an effective one.

As always Barr’s adroit writing meshed perfectly with the understated talents of Jim Aparo; an artist who gave his all to a script…

Issue #3 began a long run of high-quality super-hero sagas with ‘Bitter Orange’, as the new team get acquainted whilst stopping a chemical terrorist with a hidden agenda, and is followed by that preview from B&B #200: a hospital hostage crisis tale designed to tease and introduce new characters, followed here by ‘One-Man Meltdown’ (BATO #4) in which a radioactive villain from Batman’s past returns with malice in mind but acting on a hidden mastermind’s agenda…

New Teen Titans #37 (December 1983) features next. ‘Light’s Out, Everyone!’ by Marv Wolfman, George Pérez & Romeo Tanghal is the first part of a cross-over tale wherein Dr. Light and the Fearsome Five kidnap Dr. Jace and Titans and Outsiders must unite to rescue her. Concluding with ‘Psimon Says’ in BATO #5, its most notable feature is the portentous reuniting of Brion with his sister Tara, the Titan known as Terra.

‘Death Warmed Over’ and ‘Cold Hands, Cold Heart’ tell the tale of The Cryonic Man, a villain who steals frozen body-parts, before ‘The Hand That Rocks the Cradle’ offers a sinister supernatural Christmas treat guest-starring possibly Aparo’s most fondly remembered character (most certainly for me) The Phantom Stranger.

Issue #9 introduces a new super-villain gang in ‘Enter: The Masters of Disaster!’ (the first half of a two-part tale) plus a brief back-up tale of Halo in ‘Battle For the Band’, written by Barr and illustrated by Bill Willingham & Mike DeCarlo.

Illustrated by Steve Lightle & Sal Trapani, ‘The Execution of Black Lightning’ epically concludes the Masters of Disaster saga, before issue #11 begins exposing ‘The Truth About Katana’: exploring her past and the implications of her magic soul-drinking blade. ‘A Sword of Ancient Death!’ is by Barr & Aparo and continues with ‘To Love, Honour and Destroy’, leading directly into #13’s impressive final inclusion.

‘In the Chill of the Night’ (illustrated by Dan Day & Pablo Marcos) sees the desperate team attempting to capture a drugged, dying and delusional Dark Knight as his fevered mind and memories pit him against the gunman who murdered his parents…

With a full cover gallery – including the diptych assemblage of NTT #37 and BATO #50 – original Aparo art, house ad and preliminary character designs, this is a splendid package to appeal to dedicated Fights ‘n’ Tights fanatics. Although probably not flashy enough to cross the Fan-Barrier into mainstream popularity, Batman and the Outsiders was always a highly readable series and is re-presented here in most accessible manner. An open-minded new reader could do lots worse than try out this forgotten corner of the DCU.
© 1983, 1984, 2017 DC Comics. All Rights Reserved.