Category: Crime Comics

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Mighty Marvel Masterworks Spider-Man volume 4: The Master Planner


By Stan Lee & Steve Ditko with Sam Rosen & Art Simek (MARVEL)
ISBN: 978-1-3029-4899-3 (TPB/Digital edition)

Today marks the 6th Anniversary of Steve Ditko’s death. Here’s a reminder of why he’s so revered, in possibly his greatest sequence of stories starring his most unforgettable character.

The Amazing Spider-Man’s founding stories are timeless and have been gathered many times before but this collection of Steve Dito’s greatest moment on the character is part of The Mighty Marvel Masterworks line: designed with economy in mind and newcomers as target audience. These new books are far cheaper, on lower quality paper and smaller, about the dimensions of a paperback book. Your eyesight might be failing and your hands too big and shaky, but at 152 x 227mm, they’re perfect for kids. If you opt for digital editions, that’s no issue at all.

Marvel is often termed “the House that Jack Built” and King Kirby’s contributions are undeniable and inescapable in the creation of a new kind of comic book storytelling. However, there was another unique visionary toiling at Atlas-Comics-as-was, one whose creativity and philosophy seemed diametrically opposed to the bludgeoning power, vast imaginative scope and clean, gleaming futurism that resulted from Kirby’s ever-expanding search for the external and infinite.

Steve Ditko was quiet and unassuming, diffident to the point of invisibility, but his work was both subtle and striking: innovative and meticulously polished. Always questing for affirming detail, he ever explored the man within. He saw heroism and humour and ultimate evil all contained within the frail but noble confines of humanity. His drawing could be oddly disquieting… and, when he wanted, decidedly creepy.

Crafting extremely well-received monster and mystery tales for and with Stan Lee, Ditko had been rewarded with his own title. Amazing Adventures/Amazing Adult Fantasy featured a subtler brand of yarn than Rampaging Aliens and Furry Underpants Monsters: an ilk which, though individually entertaining, had been slowly losing traction in the world of comics ever since National/DC had successfully reintroduced costumed heroes. Lee & Kirby had responded with The Fantastic Four and so-ahead-of-its-time Incredible Hulk, but there was no indication of the renaissance ahead when officially just-cancelled Amazing Fantasy featured a brand new and rather eerie adventure character…

This compelling compilation reprises the unstoppable climb of the wallcrawler as steered by Ditko and originally seen in Amazing Spider-Man #29-38 (spanning cover-dates October 1965-July 1966). The parable of Peter Parker began when a smart but alienated high schooler was bitten by a radioactive spider on a science trip. Discovering he’d developed arachnid abilities – which he augmented with his own ingenuity and engineering genius – Peter did what any lonely, geeky nerd would when given such a gift… he tried to cash in for girls, fame and money.

Creating a costume to hide his identity in case he made a fool of himself, Parker became a minor celebrity – and a vain, self-important one. To his eternal regret, when a thief fled past him, he didn’t lift a finger to stop the thug, and days later discovered that his Uncle Ben had been murdered by the same criminal…

Vengeance crazed, Parker stalked and captured the assailant who made his beloved Aunt May a widow and killed the only father he had ever known. Since his social irresponsibility led to the death of the man who raised him, the boy swore to always use his powers to help others…

It wasn’t a new story, but the setting was familiar to every kid reading it and the artwork was downright spooky. no gleaming high-tech world of moon-rockets, mammoth monsters and flying cars here… this stuff could happen to anyone…

Sans frills or extras – but graced with pre-edited cover art at the back – Ditko’s Spider-Man culminates herein stories plotted and rendered by the inspired artist/auteur. Although other artists have inked his narratives, Ditko handled all the art on Spider-Man and these glittering gems demonstrate his fluid mastery and just how much of the mesmerising magic came from his pens and brushes…

The potent parables are lettered throughout by unsung superstars Sam Rosen & Art Simek, allowing newcomers and veteran readers to comprehensively relive some of the greatest moments in sequential narrative.

Ditko’s preference for tales of gangersterism drove the stories, but his plots also found plenty of time and room for science fictional fun, compelling supervillain frolics and subplots involving Peter Parker’s disastrous love life and poverty-fuelled medical dramas involving always-on-the-edge-of-death Aunt May…

The wallcrawler was still the whipping boy of publicity-hungry – and eventually clinically obsessed – publisher J. Jonah Jameson, who bombarded the hero with libellous print assaults in his newspaper The Daily Bugle. “Ol’ JJ” was blithely unaware the photos Parker sold him for his scurrilous print attacks were paying Spider-Man’s bills…

In the ever-more popular monthly mag, ASM #29 warned ‘Never Step on a Scorpion!’ as the lab-made larcenous lunatic returned, seeking vengeance on not just the webspinner but also Jameson for initially paying to turn a disreputable seedy private eye into a super-powered monster. Once again, the ungrateful demagogue only lived because his despised target stepped up and stepped in…

That breathtaking Fights ‘n’ Tights clash was followed by #30’s off-beat crime-caper which cannily sowed seeds for future masterpieces. ‘The Claws of the Cat!’ grittily depicted a city-wide hunt for an extremely capable burglar (way more exciting than it sounds, trust me!), whilst introducing an organised gang of thieves working for mysterious menace The Master Planner.

Sadly, by this time of their greatest comics successes, Lee & Ditko were increasingly unable to work together on their greatest creations. Ditko’s off-beat plots and quirky art had reached an accommodation with the slickly potent superhero house-style Kirby had developed (at least as much as such a unique talent ever could). The illustration featured a marked reduction of signature line-feathering and moody backgrounds, plus a lessening of concentration on totemic villains, but – although still very much a Ditko baby – Amazing Spider-Man’s sleek pictorial gloss warred with Lee’s dialogue.

These efforts were comfortably in tune with the times if not his collaborator. Lee’s assessment of the readership was probably the correct one, and disagreements with the artist over editorial direction were still confined to the office and not the pages themselves. However, an indication of growing tensions could be seen once Ditko began being credited as plotter of the stories…

After a period where old-fashioned crime and gangsterism predominated, science fiction themes and costumed crazies returned full force. As the world went gaga for masked mystery men, the creators experimented with longer storylines and protracted subplots. When Ditko abruptly left, the company feared a drastic loss in quality and sales but it didn’t happen. John Romita (senior) considered himself a mere “safe pair of hands” keeping the momentum going until a better artist could be found, but instead blossomed into a major talent in his own right, and the wallcrawler continued his unstoppable rise at an accelerated pace.

Change was in the air everywhere. Included amongst the milestones for the ever-anxious Peter Parker collected here are graduating High School and starting college, meeting first love Gwen Stacy and tragic friend/foe Harry Osborn, plus the introduction of nemesis Norman Osborn. Old friends carried in Parker’s wake included Flash Thompson and Betty Brant who subsequently begin to drift out of his life…

‘If This Be My Destiny…!’ in #31 details a spate of high-tech robberies by the Master Planner, culminating in a spectacular confrontation with Spider-Man. Also on show is that aforementioned college debut, first sight of Harry and Gwen, with Aunt May on the edge of death due to an innocent blood transfusion from her mildly radioactive darling Peter…

This led to indisputably Ditko’s finest and most iconic moments on the series – and perhaps of his entire career. ‘Man on a Rampage!’ (ASM #32) sees Parker pushed to the edge of desperation when the Planner’s men make off with serums that could save May, resulting in an utterly driven, berserk wallcrawler ripping the town apart whilst trying to find them. At the last, trapped in an underwater fortress, pinned under tons of machinery, the hero faces his greatest failure as the clock ticks down the seconds of May’s life…

This in turn generates the most memorable visual sequence in Spidey history as the opening of ‘The Final Chapter!’ luxuriates in 5 full, glorious pages depicting the ultimate triumph of will over circumstance. Freeing himself from tons of fallen debris, Spider-Man gives his absolute all to deliver the medicine May needs, and is rewarded with a rare happy ending…

Russian exile Kraven returns in ‘The Thrill of the Hunt!’, seeking payback for past humiliations by impersonating the webspinner, after which #35 confirms that ‘The Molten Man Regrets…!’: a plot-light, astoundingly action-packed combat classic wherein the gleaming golden bandit foolishly resumes his career of pinching other people’s valuables…

Amazing Spider-Man #36 offers a deliciously off-beat, quasi-comedic turn in ‘When Falls the Meteor!’ with deranged, would-be scientist Norton G. Fester calling himself The Looter to steal extraterrestrial museum exhibits…

In retrospect, these brief, fight-oriented tales, coming after such an intricate, passionate epic as the Master Planner/Nam on a Rampage saga should have indicated something was amiss. However fans had no idea that ‘Once Upon a Time, There Was a Robot…!’ – featuring a beleaguered Norman Osborn targeted by his disgraced ex-partner Mendel Strom, and some eccentrically bizarre murder-machines in #37 and the tragic tale of ‘Just a Guy Named Joe!’ – (Amazing Spider-Man #38, July 1966 and on sale from April 12th) wherein a hapless sad-sack stumblebum boxer gains super-strength and a bad-temper – would be Ditko’s last arachnid adventures.

And thus an era ended…

Full of energy, verve, pathos and laughs, gloriously short of post-modern angst and breast-beating, these fun classics – also available in numerous formats including eBook editions – are quintessential comic book magic constituting the very foundation of everything Marvel became. This classy compendium is an unmissable opportunity for readers of all ages to celebrate the magic and myths of the modern heroic ideal: something no serious fan can be without, and an ideal gift for any curious newcomer or nostalgic aficionado.
© 2023 MARVEL.

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Teen Titans: The Silver Age volume One


By Bob Haney, Bruno Premiani, Nick Cardy, Irv Novick, Bill Molno, Sal Trapani, Jack Abel & various (DC Comics)
ISBN: 978-1-4012-7508-2 (TPB/Digital edition)

Although primarily concerned with celebrating Pride Month and simultaneously prepping for a really big blowout/hunkering down for the new dystopia following our imminent election, I couldn’t let the month end without shouting out to an anniversary celebrating a publishing landmark that truly changed the comics landscape. Here you go, Groovers and True Believers…

The concept of kid hero teams was not a new one when the 1960s Batman TV show prompted DC to entrust their big stars’ assorted sidekicks with their own regular venue in a fab, hip and groovy ensemble as dedicated to helping kids as they were to stamping out insidious evil. The biggest difference between the creation of the Teen Titans and earlier wartime youth teams like The Young Allies, Newsboy Legion, Boy Champions and Boy Commandos or even 1950s holdovers such as The Little Wise Guys or Boys Ranch was quite simply the burgeoning phenomena of “The Teenager” as a discrete commercial and social force. These newcomers were kids who could – and should – be allowed to do things themselves without constant adult help or supervision.

This quirkily eclectic compilation re-presents the landmark try-out appearances from The Brave and the Bold #54 & 60 and Showcase #59 – collectively debuting in 1964 and1965 – as well as the first 11 issues of the Teen Titans solo title, spanning January/February 1966 to September/October 1967.

As early as April 30th – albeit cover-dated June/July – 1964, The Brave and the Bold #54 saw DC’s Powers-That-Be test the waters in a gripping tale by writer Bob Haney superbly illustrated by unsung genius Bruno Premiani. ‘The Thousand-and-One Dooms of Mr. Twister’ initially united Kid Flash, Aqualad and Robin the Boy Wonder in desperate battle with a modern wizard-cum-Pied Piper who sought to abduct every teen of scenic Hatton Corners. The young heroes accidentally meet in the town by chance after involved students individually invite them to mediate in a long-running dispute with the town’s adults…

This element of a teen “court of appeal” was the motivating principle in many of the group’s subsequent cases. One year later the team reformed for a second adventure (B&B #60, by the same creative team) and introduced two new elements. ‘The Astounding Separated Man’ features more misunderstood kids (weren’t we all?): this time in coastal hamlet Midville and threatened by an outlandish monster whose giant body parts detach and move independently. Wonder Girl was added to the roster (not actually a sidekick, or even a person at that juncture, but rather an SFX incarnation of Wonder Woman as a child – a fact the writer and editor of the series seemed blissfully unaware of (or simply ignored) but most importantly the kids finally had a team name: ‘Teen Titans’.

Their final try-out appearance was in Showcase (#59, November/December 1965) and the birthplace of so many hit comic concepts. It was also the first drawn by the brilliant Nick Cardy (who became synonymous with the 1960s series). ‘The Return of the Teen Titans’ pits the neophyte team against teen pop trio ‘The Flips’ who are apparently also a gang of super-crooks. As was so often the case, the grown-ups had got it all wrong again…

One month later Teen Titans #1 debuted (cover-dated January/February 1966 and released mere weeks before the Batman TV show aired on January 12th), with Robin very much the point of focus on the cover… and most succeeding ones. Haney & Cardy crafted an exotic thriller entitled ‘The Beast-God of Xochatan!’ which sees the team acting as Peace Corps representatives in a South American drama of sabotage, giant robots and magical monsters. The next issue held a fantastic mystery of revenge and young love involving ‘The Million-Year-Old Teen-Ager’ who was preserved by accidental entombment and revived in the 20th century. He might have survived modern intolerance, bullying and culture shock on his own, but when his ancient blood enemy also turned up, the Titans were ready to lend a hand…

‘The Revolt at Harrison High’ in #3 cashed in on a contemporary craze for drag-racing in a tale of bizarre criminality. Produced during a historically iconic era, many readers now can’t help but cringe when reminded of such daft foes as Ding-Dong Daddy and his evil biker gang, and of course the hip, trendy dialogue (it wasn’t that accurate then, let alone now) is pitifully dated, but the plot is strong and the art magnificent.

‘The Secret Olympic Heroes’ guest-starred Green Arrow’s cocky teen partner Speedy in a very human tale of parental pressure at the Olympics, although there’s also skulduggery aplenty from a terrorist organisation intent on disrupting the games. Next TT #5’s ‘The Perilous Capers of the Terrible Teen’ finds the Titans facing the dual task of aiding a troubled young man and capturing elusive super-villain The Ant, despite all evidence indicating that they’re the same person, after which another DC sidekick made his Titans debut.

Illustrated by Bill Molno & Sal Trapani ‘The Fifth Titan’ then brings aboard Beast Boy (the obnoxious juvenile know-it-all from the Doom Patrol). Feeling unappreciated by his adult mentors, the young hero wrongly assumes he’ll be welcomed by his peers. Rejected again, he falls under the spell of an unscrupulous circus owner and the kids need to set things right…

Slow and overly convoluted, it’s possibly the low-point of a stylish run, but many fans disagree, citing #7’s ‘The Mad Mod, Merchant of Menace’ as the biggest stinker. However, beneath painfully dated dialogue there’s a witty, tongue-in-cheek tale of swinging London, cool capers and novel criminality, plus the return of magnificent Nick Cardy to the art chores.

It was back to America for ‘A Killer called Honey Bun’ (illustrated by Irv Novick & Jack Abel): another tale of intolerance and misunderstood kids, played against a backdrop of espionage in Middle America, and featuring a deadly prototype robotic superweapon in the menacing title role…

TT #9’s ‘Big Beach Rumble’ finds the Titans refereeing a swiftly-escalating vendetta between rival colleges on holiday when modern day pirates led by the barbarous Captain Tiger crash the scene. Novick pencilled it and Cardy’s inking made it all very palatable in a light and uncomplicated way. Editor George Kashdan clearly concurred as the art teem continued for the next few issues, beginning with ‘Scramble at Wildcat’: a rowdy crime caper featuring dirt-bikes and desert ghost-towns, with skeevy biker The Scorcher profiting from a pernicious robbery spree…

Wrapping up this first outing, Speedy returned in #11’s spy-thriller ‘Monster Bait’, with the young heroes going undercover to save a boy being blackmailed into betraying his father and his country…

Although dated in delivery now, these tales were an incomprehensibly liberating experience for kids when first released. They betokened a new empathy with increasingly independent youth and sought to address problems that were more relevant to and generated by that specific audience. That they are so captivating in execution is a wonderful bonus. This is absolute escapism and absolutely delightful and you absolutely should get this book.
© 1964, 1965, 1966, 1967, 2017 DC Comics. All Rights Reserved.

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Showcase Presents Batman volume 4


By Gardner F. Fox, Frank Robbins, Bob Kanigher, Mike Friedrich, John Broome, E. Nelson Bridwell, Chic Stone, Frank Springer, Irv Novick, Bob Brown, Gil Kane, Ross Andru & Mike Esposito, Sid Greene, Joe Giella, Dick Giordano & various (DC Comics)
ISBN13: 978-1-84856-357-5 (TPB)

After three seasons (perhaps two and a half would be closer) the overwhelmingly successful Batman TV show ended in March, 1968. It had clocked up 120 episodes since the US premiere on January 12, 1966. As the show foundered and crashed, global fascination with “camp” superheroes – and no, the term had nothing to do with sexual proclivities no matter what you and Mel Brooks might think about Men in Tights – burst as quickly as it had boomed and the Caped Crusader was left with a hard core of dedicated fans and followers who now wanted their hero back.

For the editor who had tried to keep the most ludicrous excesses of the show out whilst still cashing in on his global popularity, the reasoning seemed simple: get him back to solving baffling mysteries and facing genuine perils as soon and as thrillingly as possible.

No problem. This fourth monochrome compendium gathers Batman & Robin yarns from the eponymous star title #202-215 and the front halves of Detective Comics #376-390. The back-up slot was delightfully filled until #383 by whimsically stretchable sleuth The Elongated Man, before his unceremonious ejection to make room for Batgirl’s solo sallies.

The 27 stories here (some Batman issues were giant reprint editions, so only their covers are reproduced within these pages) were crafted by an ever-evolving team of creators as editor Julie Schwartz lost some of his elite stable to age, attrition and corporate pressure, but the “new blood” was only fresh to the Gotham Guardian not the industry, and their sterling efforts deftly moulded the 30 year veteran star into a hero capable of actually working within the new “big thing” in comics: suspense, horror and the supernatural…

The book leads off with ‘Gateway to Death!’  from Batman #202, cover-dated June 1968, as delivered by Gardner Fox, and un-attributed artist (it’s Chic Stone inked by Sid Greene). The tale is a spooky graveyard chiller finding the Dynamic Duo chasing a psychic plunderer towards their own prognosticated doom, after which Detective #376 (by the same creative team) ask ‘Hunted or …Haunted?’ as a time-traveller inadvertently puts the fear of death and worse into the Gotham Gangbuster.

Batman #203 was an 80-Page Giant with a Neal Adams cover, before an old foe returns in Detective #377. ‘The Riddler’s Prison-Puzzle Problem!’ by Fox, Frank Springer & Greene precedes Frank Robbins (creator of newspaper strip icon Johnny Hazard) joining the writing team for ‘Operation: Blindfold!’ as limned by Irv Novick & Joe Giella – a 2-part criminal conspiracy saga wherein a legion of thugs and sightless beggars almost take over Gotham.

With veteran penciller Bob Brown on Detective and Novick on Batman, artistic quality was high and consistent, but sadly strictly chronological reprinting works against the reader as the concluding episode is postponed and derailed here by Detective #378 – first half of Robbins, Brown & Giella’s generation gap murder-mystery ‘Batman! Drop Dead… Twice!’ which itself climaxes after ‘Blind as a… Bat?’ from Batman #204, with a rollicking rollercoaster ride of spills & chills in ‘Two Killings For the Price of One!’ in Detective #379…

Issue #380 follows, introducing new love-interest Ginny Jenkins, Robbins, Brown & Giella’s ‘Marital-Bliss Miss!’ who only pretends to be the new Mrs. Bruce Wayne for the very best of motives – saving his life – before Batman #206 sees Novick & Giella illustrate canny thriller ‘Batman Walks the Last Mile!’, pitting Caped Crusader against a conman claiming to be the brains behind the Dynamic Duo’s success.

In an era when teen angst and the counter-culture played an ever more evident and strident part, Robin’s role as spokesperson for a generation was becoming increasingly important, with disputes and splits from his senior partner constantly recurring. Detective #381 featured one of the best as Batman literally dumped the Boy Wonder in ‘One Drown… One More to Go!’ – another clever crime conundrum by Robbins, Brown & Giella. Batman #207 carried a classy countdown-to-catastrophe drama as all Gotham hunted the atomic nightmare of ‘The Doomsday Ball!’ whilst DC #382 continued a theme of youth in revolt with ‘Riddle of the Robbin’ Robin!’ The disagreements were never serious or genuine, although that would soon change.

Batman #208 was another reprint Giant highlighting the women in his life. However, even though Schwartz varied the usual format by having Gil Kane draw interlocking framing sequences, turning the issue into one big single story, all that has all omitted here so you just get the rather nifty Nicky Cardy cover. Detective #383 was a straightforward (and painfully dated!) thriller set in Gotham’s Chinatown – ‘The Fortune-Cookie Caper!’ before outlandish mind-bending mystery became the order of the day in Batman #209’s ‘Jungle Jeopardy!’ whilst DC #384 asked ‘Whatever Will Happen to Heiress Heloise?’: a crafty final tale of cross and double-cross from Fox, illustrated by Brown & Giella.

Catwoman returned mob-handed – or is that murder-mittened? – in Batman #210 with eight other “cat chicks” in tow, leaving the Caped Crimebuster hard-pressed to solve ‘The Case of the Purr-Loined Pearl!’ after which Bob Kanigher wrote one of the best tales of his long and illustrious career for Detective #385 as a nameless nonentity became the most important man Batman never met in the deeply moving ‘Die Small… Die Big!’

Issue #386 found Wayne a ‘Stand-In for Murder’ (Robbins, Brown & Giella) and the heroes had secret identity woes in ‘Batman’s Big Blow-Off!’ (#211, (Robbins, Novick & Giella) whilst Young Turk Mike Friedrich scripted a reworking of Batman’s very first appearance for the 30th Anniversary issue of Detective Comics. ‘The Cry of Night is… Sudden Death!’ was a contemporary reworking of #27’s ‘The Case of the Chemical Syndicate’ that launched the Dark Knight on the road to immortality (for the original check out any of many “Best of” or “Golden Age” collections to feature the landmark tale). However here the relationship between Batman and Boy Wonder came under probing scrutiny…

‘Baffling Deaths of the Crime-Czar!’ (Batman #212, Robbins, Novick & Giella) pitted a trio of exuberant hitmen against our heroes, after which John Broome returned to make one last scripting contribution, sagely moving The Joker away from campy Clown crimes and back towards the insane killer MO we all cherish. That all came about in Detective #388’s ‘Public Luna-tic Number One!’: a classy sci-fi thriller totally reinventing the Lethal Laughing Loon, in no small part thanks to the artistic efforts of Brown & Giella.

Batman #213 is another reprint Giant, celebrating other landmarks of the 30th Anniversary and leading with a new retelling of ‘The Origin of Robin’, courtesy of E. Nelson Bridwell, Ross Andru & Mike Esposito, which is included here after the spiffy cover from Bill Draut & Vince Colletta. The rocky road to a scary superhero continued into Detective #389 and Robbins’ ‘Batman’s Evil Eye’ wherein The Scarecrow afflicts Gotham’s Guardian with the involuntary power to terrify at a glance – and obviously somebody saw the long-term story potential in that stunt…

There was still potential to be daft too though, as seen in ‘Batman’s Marriage Trap!’ (#214, Robbins, Novick & Giella) wherein a wicked Femme Fatale sets the unhappy spinsters of America on the trail of Gotham’s Most Eligible Bat-chelor (See what I did there? Wishing I hadn’t?) Not even a guest-shot by positive role-model Batgirl could redeem this peculiar throwback – although the art just might…

The last Detective tale is from #390 and pits the Dynamic Duo against lacklustre costumed assassin The Masquerader in ‘If the Coffin Fits… Wear It!’ before the end of an era is presaged in Batman #215 and ‘Call Me Master!’ by Robbins, Novick and soon to become legendary inker Dick Giordano. Although a clever tale of mind-control skullduggery, this tale trailled the loss of Wayne Manor and an all-out split between Darknight Detective and Boy Wonder: events which would come to pass within months, ushering in a bold new direction for the Bat-Universe.

This volume brings three decades of Batman to a solid satisfactory conclusion. All too soon safe boy-scout Caped Crusader would become a terrifying creature of passion, intellect and shadowy suspense.

Stay tuned: This book is wonderfully good but even better is still to come…
© 1968, 1969, 2009 DC Comics. All rights reserved.

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Spider-Man Newspaper Strips volume 1: January 3rd 1977 – January 28th 1979

4 images (2 covers + 1 illo and a spare combined covers if the preferred don’t match up)


By Stan Lee & John Romita, with Frank Giacoia & various (Marvel)
ISBN: 978-0-7851-8561-1 (TPB/Digital edition)

It’s been a year since we lost genial giant John Romita. His work and life were inextricably woven into the Marvel canon: permeating and supporting the entire company’s output from top to tail, from before the House of Ideas even existed to the stellar Sixties to right now…

By 1977 Stan Lee had all but surrendered his role as editor and guiding light of Marvel Comics for that of a roving PR machine to hype-up the company he had turned into a powerhouse. In that year two events occurred that catapulted Marvel’s standout, signature character into the popular culture mainstream. One was the long-anticipated debut of The Amazing Spider-Man live action TV show (a mixed blessing and pyrrhic victory at best) whilst the other, and one much more in keeping with his humble origins, was the launch of a syndicated newspaper strip with the same hallowed title.

Both mass-audience outreach projects brought the character to a wider audience, but the latter offered at least a promise of editorial control – a crucial factor in keeping the wondrous wallcrawler’s identity and integrity intact. But even this closely-aligned creative medium dictated some tailoring of the Merry Marvel Madness before the hero was a suitable fit with the grown-up world of the “Funny Pages”.

Which is just my longwinded way of saying that completists, long-time fans and lovers of great artwork will absolutely enjoy this collection of periodical strips, as will any admirer of the stunning talents of the senior John Romita (latterly inked by the great Frank Giacoia) even though the stories are tame, bowdlerised and rather mediocre. Deprived of the support network of an overlapping Marvel Universe, they often struggled to find their wallcrawling feet and might feel a tad toned down and simplistic for readers familiar with the wider cast or long history. Those completists, however, might be keen on catching lost adventures featuring Wolverine, Doctor Strange and Daredevil, and it was always easier to import supervillains like Mysterio, The Kingpin and Doctor Doom into the alternate adventures of this Amazing Spider-Man.

Marvel Multiversal Continuity eventually caught up with the feature and it’s now designated Earth-77013 and a regular component of the “Spider-Verse” strand…

The strip was first posited and peddled around the papers in 1970 (Lee & Romita’s initial proposal and two weeks of trial continuities are included at the back of this book) but The Amazing Spider-Man only began on January 3rd 1977. It ran as a property of the Register and Tribune Syndicate until 1985, briefly switching to Cowles Media Company before becoming part of the King Features Syndicate in 1986. The strip went on hiatus following Lee’s death with the final new strip appearing on March 23rd 2019. Lee was still credited as writer even though Roy Thomas had been its ghost writer since 2000. It soon reappeared as reruns – until October 21st 2023 – before being replaced in syndicate packages by Flash Gordon.

One of the industry’s most polished stylists and a true cornerstone of the Marvel Comics phenomenon, the elder John Romita began his comics career in the late 1940s (ghosting for other artists) before striking out under his own colours, eventually illustrating horror and other anthology tales for Stan Lee at Timely/Atlas.

John Victor Romita was Brooklyn born and bred, entering the world on January 24th 1930. From Brooklyn Junior High School he moved to the famed if not legendary Manhattan School of Industrial Art, and graduated in 1947. After spending six months creating a medical exhibit for Manhattan General Hospital he moved into comics in 1949, working for Famous Funnies. A “day job” toiling at Forbes Lithograph was abandoned when a friend found him various inking and ghosting assignments, until he was drafted in 1951. Showing his portfolio to a US army art director, after boot camp at Fort Dix New Jersey, Romita was promoted to corporal, and stationed on Governors Island in New York Bay doing recruitment posters. He was allowed to live off-base in Brooklyn. During this period he started doing the rounds and struck up a freelancing acquaintance with Stan Lee at rapidly expanding genre factory Atlas Comics…

Romita illustrated horror, science fiction, war stories, westerns, Waku, Prince of the Bantu in Jungle Tales, a superb run of inviting cowboy adventures starring The Western Kid and was handed 1954’s abortive revival of Captain America and more, before an industry implosion derailed his – and many other – blossoming careers. He eventually found himself trapped in DC’s romance comics division – a job he hated – before – in 1965 – making a reluctant jump back to the resurgent House of Ideas. As well as steering the career of the wallcrawler and so many other Marvel stars, his greatest influence was felt when he became Art Director in July 1973 – a job he had been doing unofficially since 1968. He had a definitive hand in creating or shaping many key characters, such as Mary Jane Watson, Peggy Carter, The Kingpin, The Punisher, Luke Cage, Wolverine, Satana, ad infinitum. One story goes that it was Romita who suggested Gwen Stacy’s murder to Spidey scripter Gerry Conway…

Working from full scripts (not the acclaimed “Marvel Method”), Romita illustrated The Amazing Spider-Man newspaper strip for its first four years, after which Stan’s brother Larry Lieber (Rawhide Kid, Ant-Man, Iron Man, Thor) took on the pencilling. Unhappy with the deadline pressures, he soon left, and was replaced by Fred (Airboy, Captain Britain) Kida who soldiered on from August 1981 to July 1986. A brief interim with Dan (Flash Gordon, Airboy, Tarzan) Barry led to Leiber’s return, and he drew the feature for the next 32 years with a variety of inkers and ghosts such as Alex Saviuk.

Since 2015 the stories have also been collected in IDW’s The Library of American Comics as The Amazing Spider-Man: The Ultimate Newspaper Comics Collection with five lavish hardback volumes released to date. This collection – available in landscape paperback and digital formats – is a modified rerelease of a hardback tome from 2008, offering extra editorial and commentary as it re-presents the first two years of the strip, with traditional single tier monochrome dailies accompanied by full-colour, full page Sunday strips. If the reader is steeped in the established folklore of the comic book Spider-Man, the serials here – solidly emphasising Peter Parker‘s personal relationships in the grand manner of strip soap opera drama – begin by introducing Dr. Doom and Dr. Octopus in heavy-handed potboilers light on action but intrinsically riffing on what has gone before in comic books.

However, for the presumed millions of neophyte readers the yarns must have been a tad confusing: presented as if all participants are already fully-established, with no development or real explanation of backstory. After the full-on Marvel villains are successively trounced, serpentine new baddie The Rattler stalks the city in search of increased powers, followed in turn by the more appropriate and understandable (for strips at least) gangster The Kingpin, who combines seditious politics with gun-toting thuggery.

Only then do the creators finally get around to a retelling of the origin, albeit one now based on that aforementioned TV show rather than the classic Lee/Ditko masterpiece. It’s safe to say that in those early years television informed the strip much (too much) more than monthly comic books.

A suitably revised Kraven the Hunter debuts next, presenting an opportunity to remove glamourous but shallow good-time girl Mary Jane Watson from the strip in favour of a string of temporary girl-friends, more in line with the TV iteration. This also signalled a reining-in of super-menaces in favour of less-fantastic or far-fetched opponents such as a middle-Eastern terrorist.

The launch of a Spider-Man movie (surely the most improbable of events!) then takes photojournalist Peter Parker to Hollywood and into a clash with a new version of deranged special-effects genius Mysterio, before Dr. Doom returns, attempting to derange our hero with robot pigeons and duplicates of Parker’s associates..

This is followed by an exceptional, emotionally-stirring run of episodes as three street thugs terrorise senior citizen Aunt May for her social security money, after which Spider-Man must foil a crazed fashion-model who has discovered his identity and blackmails him…

These drama-framed and human-scaled threats are a far more fitting use of the hero in this ostensibly more grown-up milieu – which pauses here with a protection racket romp set in the (feel free to shudder) discotheque owned by young entrepreneurs Flash Thompson and Harry Osborn, courtesy of newly-returned corpulent crimelord Kingpin…

To Be Continued…

Adding to the time capsule of arachnid entertainment is that aforementioned proposal by Lee & Romita, archival interviews with both creators conducted by John Rhett Thomas and Alex Lear plus a gallery of six Sunday title panels (used to summarise events and set the tone for readers who only read the sabbath colour strips), as well as a classic Romita pin-up page starring the artist and his greatest co-creations…

Happily, although goofy stories predominate in this oddball collection, and time has not been gentle with much of the dialogue, the stunning artwork of John Romita in his prime helps to counteract the worst of the cultural excesses. Moreover, there remains a certain guilty pleasure to be derived from these tales if you don’t take your comics too seriously and are open to alternative existences…
© 1977, 1978, 2019 Marvel. All rights reserved.

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Showcase Presents World’s Finest volume 4


By Cary Bates, Bob Haney, Robert Kanigher, Denny O’Neil, Mike Friedrich, Curt Swan, Ross Andru, Dick Dillin, Mike Esposito & various (DC Comics)
ISBN: 978-1-4012-3736-3 (TPB)

For decades Superman and Batman were quintessential superhero partners: the “World’s Finest team”. The affable champions were best buddies as well as mutually respectful colleagues, and their pairing made sound financial sense since DC’s top heroes could happily cross-pollinate and cross-sell their combined readerships.

This fourth monochrome compendium re-presents cataclysmic collaborations from the dog days of the 1960’s into the turbulent decade beyond (World’s Finest Comics #174-202, spanning March 1968 to May 1971), as shifts in America’s tastes and cultural landscape created such a hunger for more mature and socially relevant stories that even the Cape & Cowl Crusaders were affected – so much so in fact, that the partnership was temporarily suspended: sidelined so that Superman could guest-star with other icons of the DC universe.

However, after a couple of years, the relationship was revitalised and renewed with the “World’s Finest Heroes” fully restored to their bizarrely apt pre-eminence for another lengthy run until the title was cancelled in the build-up to Crisis on Infinite Earths in 1986.

The increasingly grim escapades begin with ‘Secret of the Double Death-Wish!’ by Cary Bates, Pete Costanza & Jack Abel from #174 (cover-dated March 1968, so actually the last issue of 1967) wherein mysterious voyeurs seemingly kidnap the indomitable heroes and psychologically crush their spirits such that they beg for death.

Smart and devious, this conundrum was definitely old-school, but a New Year saw subtle changes as, post-Batman TV show, the industry experienced superheroes waning in favour of war, western and especially supernatural themes and genres. Thus 1968 saw radical editorial makeovers at National/DC. Edgier stories of the costumed Boy Scouts began as iconoclastic penciller Neal Adams started turning heads and making waves with his stunning covers and two spectacularly gripping Cape & Cowl capers. It began in WFC #175 with ‘The Superman-Batman Revenge Squads!’, scripted by Leo Dorfman and inked by Dick Giordano. The story details how an annual contest of wits between the crimebusting pals is infiltrated by alien and Terran criminal alliances intent on killing their foes whilst they are off guard.

Issue #176 featured beguiling thriller ‘The Superman-Batman Split!’ (Bates, Adams & Giordano). Ostensibly just another alien mystery, this twisty little gem has a surprise ending for all and guest stars Robin, Jimmy Olsen, Supergirl and Batgirl, with the artist’s hyper-dynamic realism lending an aura of credibility to the most fanciful situations, and ushering in an era of gritty veracity to replace the anodyne and frequently frivolous Costumed Dramas.

Jim Shooter, Curt Swan & Mike Esposito also edged closer towards constructive realism with #177’s ‘Duel of the Crime Kings!’ as Lex Luthor again joins forces with The Joker. This go-round the dastardly duo used time-busting technology to recruit Benedict Arnold, Baron Hieronymus Carl Friedrich von Munchausen and Leonardo Da Vinci to plan crimes for them, only to then fall foul of the temporally displaced persons’ own unique agendas…

WFC #178 began a 2-part Imaginary Tale with ‘The Has-Been Superman!’ (Bates, Swan & Abel) which has the Action Ace lose his Kryptonian powers and subsequently struggle to continue his career as Batman-style masked crimebuster Nova. More determined than competent, he soon falls under the influence of criminal mastermind Mr. Socrates – a brainwashed stooge programmed to assassinate Batman…

The moody suspense saga was interrupted by #179 – a regularly scheduled, all-reprint 80-Page Giant featuring bright-&-shiny early tales from the team’s formative years – represented in this collection by its striking Adams cover – before the alternate Earth epic concludes in #180 with ‘Superman’s Perfect Crime!’ courtesy of Bates and new regular art team Ross Andru & Mike Esposito.

During the late 1950s when the company’s editors cautiously expanded the characters’ continuities, they learned that each new tale was an event which added to a nigh-sacred canon, and that what was printed was deeply important to the readers – but no “ideas man” would let all that aggregated “history” stifle a good plot situation or sales generating cover.

Thus “Imaginary Stories” were conceived as a way of exploring non-continuity plots and scenarios, devised at a time when editors knew that entertainment trumped consistency and fervently believed that every comic read was somebody’s first and – unless they were very careful – potentially their last…

Bates, also scripted #181’s ‘The Hunter and the Hunted’ wherein an impossibly powerful being from far away in space and time relentlessly pursues and then whisks away the heroes to a world where they were revered as the fathers of the race, whilst in the next issue ‘The Mad Manhunter!’ depicted a suspenseful shocker which found Batman routinely rampaging like a madman due to a curse. Naturally, what seemed was far from what actually was…

Another massive con-trick underscored #183’s Dorfman-scripted drama as apes from the future accused the Man of Steel of committing ‘Superman’s Crime of the Ages!’ and Batman and Robin had to arrest their greatest ally. In WFC #184 Bates, Swan & Abel concocted another bombastic Imaginary Tale which revealed ‘Robin’s Revenge!’, tracing the troubled teen sidekick’s progress after Batman is murdered, with Superman powerless to assuage the Boy Wonder’s growing hunger for revenge…

Robert Kanigher joined old collaborators Andru & Esposito from #185 onwards, detailing the bizarre story of the ‘The Galactic Gamblers!’ who press-ganged Superman, Batman, Robin and Jimmy to their distant world to act as living stakes and game-pieces in their gladiatorial games of chance, before taking the heroes on a time-tossed 2-part supernatural thriller.

In #186, anecdotal stories of Batman’s Colonial ancestor “Mad Anthony Wayne” prompt the heroes to travel back to the War of Independence where the Dark Knight is accused of infernal deviltry as ‘The Bat Witch!’ and sentenced to death. Of course, it’s actually the Action Ace who is possessed to become ‘The Demon Superman!’ in the follow-up before all logic and sanity are restored by exorcism and judicious force of arms…

After the cover to World’s Finest #188 – another reprint Giant – Bates returns in #189 with a (still) shocking 2-parter opening in ‘The Man with Superman’s Heart!’ wherein the Caped Kryptonian crashes from space to Earth and is pronounced Dead On Arrival. As per his wishes, many of his organs are harvested (this was 1969 and still purely speculative fiction at that time) and bequeathed to worthy recipients. When Batman refuses to accept any organic bequests, Superman’s eyes, ears, lungs, heart and hands (yes, I know… just go with it) are simply stored …until Luthor steals them to auction off to gangland’s highest bidders…

Concluding episode ‘The Final Revenge of Luthor!’ sees a quartet of crooks running wild as the transplants bestow mighty powers Batman and Robin cannot combat, but the tragedy has a logical – if rather callous – explanation as the real Man of Steel appears to save the day…

Bates, Andru & Esposito then explore ‘Execution on Krypton!’ in WFC #191, as incredible events on Earth lead Superman and Batman back to Krypton before Kal-El was born. Here he learns how his revered parents Jor-El and Lara became radicalised college lecturers, and why they were teaching their students all the subversive tricks revolutionaries needed to know…

Bob Haney joined Andru & Esposito from #192 for a dark, Cold War suspense thriller as Superman is captured by the Communist rulers of Lubania and held in ‘The Prison of No Escape!’ When Batman tries to bust him out, he too is arrested and charged with spying by sadistic Colonel Koslov, utilising brainwashing techniques to achieve ‘The Breaking of Superman and Batman!’ in the next issue. However, the vile totalitarian’s torturous treatment disguises an insidious master-plan which the World’s Finest almost fail to foil…

Popular public response to Mario Puzo’s phenomenal novel The Godfather most likely influenced Haney, Andru & Esposito’s next convoluted 2-parter. WFC #194 sees Superman and Batman undercover ‘Inside the Mafia Gang!’ and hoping to dismantle the organisation of “Big Uncle” Alonzo Scarns from within. Sadly, a head wound muddles the Gotham Gangbuster’s memory and Batman begins to believe he is actually the “Capo di Capo Tutti”, condemning Robin and Jimmy to ‘Dig Now, Die Later!’ Helplessly watching, Superman is almost relieved when the real Scarns shows up…

An era ended with #196 as ‘The Kryptonite Express!’ (Haney, Swan & George Roussos) details how a massive meteor shower bombards the US with tons of the deadly green mineral. After countless decent citizens gather up the Green K, a special train is laid on to collect it all and ship it to somewhere it can be safely disposed of. Superman is ordered to stay well away whilst Batman takes charge of the FBI operation, but they have no idea master racketeer and railway fanatic K.C. Jones has plans for the shipment and a guy on the inside…

After #197 – another all-reprint Superman/Batman Giant – a new era launches (for the entire experiment you should see World’s Finest: Guardians of Earth please link to 2021, June 3rd) as the Fastest Man Alive teams with the Man of Tomorrow. DC Editors of the 1960s generally avoided questions like who’s best/strongest/fastest for fear of upsetting a portion of their tenuous and assuredly temporary fanbase, but as the tide turned against superheroes in general and upstart Marvel began making serious inroads into their market, the notion of a definitive race between the almighty Man of Steel and Scarlet Speedster became increasingly enticing and sales-worthy.

They had raced twice before (Superman #199 and Flash #175 – August & December 1967) with the result deliberately fudged each time, but when they met for a third round a definitive conclusion was promised – but please remember it’s not about the winning, but only the taking part. As World’s Finest became a team-up vehicle for Superman, Flash again found himself in contrived competition. ‘Race to Save the Universe!’ and conclusion ‘Race to Save Time!’ (#198-199, November and December 1970, by Denny O’Neil, Dick Dillin & Joe Giella) up the stakes as the high-speed heroes are conscripted by the Guardians of the Universe to circumnavigate the cosmos at their greatest velocities thereby undoing the rampage of mysterious Anachronids: faster-than-light creatures whose pell-mell course throughout creation is unwinding time itself. Little does anybody suspect Superman’s oldest enemies are behind the entire appalling scheme…

In anniversary issue #200, Mike Friedrich, Dillin & Giella focus on brawling brothers on opposite sides of the teen college scene, abducted with unruly youth icon Robin and “Mr. Establishment” Superman to a distant planet. Here undying vampiric aliens wage eternal war on each other in ‘Prisoners of the Immortal World!’ Green Lantern then pops in for #201, contesting ‘A Prize of Peril!’ (O’Neil, Dillin & Giella) which will give either Emerald Gladiator or Man of Steel sole jurisdiction of Earth’s skies.

Batman returns for a limited engagement in #202. The final tale in this compilation, O’Neil, Dillin & Giella’s ‘Vengeance of the Tomb-Thing!’ sees archaeologists unearth something horrific in Egypt as Superman seemingly goes mad: attacking his greatest friends and allies. A superb ecological scare-story, this tale changed the Man of Tomorrow’s life forever…

These are gloriously smart, increasingly mature comic book yarns whose dazzling, timeless style informed the evolution of two media megastars, which still have the power and punch to enthral even today’s jaded seen it-all audiences. The contents of this titanic team-up tome are a veritable feast of witty, gritty, pretty thrillers packing as much punch and wonder now as they always have. Utterly entrancing adventure for fans of all ages!
© 1968, 1969, 1970, 1971, 2012 DC Comics. All Rights Reserved.

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Showcase Presents Batman volume 3


By Gardner F. Fox, John Broome, Mike Friedrich, Carmine Infantino, Sheldon Moldoff, Gil Kane, Frank Springer, Chic Stone, Sid Greene, Joe Giella & various (DC Comics)
ISBN: 978-1-4012-1719-8 (TPB)

After 3 seasons (perhaps 2½ would be closer) the Batman TV show ended in March, 1968. It had clocked up 120 episodes since its US premiere on January 12th 1966. The era ended but the series had left 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 superstar who became an integral part of the DC universe.

This astoundingly economical black & white compendium (another collection long in need of modern revival …and some colour too, please) gathers all the Batman and Robin yarns from #189-201 of the eponymous title as well as the Gotham stuff from Detective Comics #359-375 (the back-up slot therein being delightfully filled at this time by the globetrotting, whimsically wonderful Elongated Man feature). The 33 stories here – written and illustrated by the cream of editor Julie Schwartz’s elite stable of creators – gradually evolved over the 17 months covered from an even mix of crime, science fiction, mystery, human interest and supervillain vehicles to a much narrower concentration of plot engines. As with TV’s version, costumes became king, and then became unwelcome….

It all begins with the comic book premiere of that aforementioned new character. In ‘The Million Dollar Debut of Batgirl’ (Detective Comics #359, cover-dated January 1967) writer Gardner Fox and art team supreme Carmine Infantino & Sid Greene introduced Barbara Gordon: “mousy librarian” and daughter of the Police Commissioner into the superhero limelight. So by the time TV’s third season began on September 14th 1967, she was fully established.

A different Batgirl, Betty Kane, niece of the 1950s Batwoman, was already a comics fixture but for reasons far too complex and irrelevant to mention here was conveniently forgotten 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 marketed as being pretty hot too, which was always a big consideration for television…

Whereas Babs fought The Penguin on the small screen, her paper origin features no less ludicrous but at least visually forbidding Killer Moth in a clever yarn that still stands up today. An old foe unseen since the 1940s was revived for Batman #189 (February 1967). Demented psychology lecturer Jonathan Crane was obsessed by the emotion of fear and turned his expertise to criminal endeavours (initially in World’s Finest Comics #3 and Detective #73) before fading into obscurity. With ‘Fright of the Scarecrow’ he was back for (no) good, courtesy of Fox, Sheldon Moldoff & Joe Giella, as this tense psychodrama elevated him to the top rank of Bat-rogues. ‘The Case of the Abbreviated Batman’ (Detective #360) by the same team follows: an old-fashioned crime-caper with mobster Gunshy Barton pitting wits against Gotham’s Guardians whilst the March Batman’s full-length ‘The Penguin Takes a Flyer… Into the Future!’ – scripted by John Broome – mixed super-villainy and faux science fiction motifs for an enjoyable if predictable fist-fest.

Editor Schwartz preferred to stick with mysteries and conundrums in Detective Comics and #361’s ‘The Dynamic Duo’s Double-Deathtrap!’ was one of Fox’s best examples, especially as drawn by the incredibly over-stretched Infantino & 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. The next issue, by Fox, Moldoff & Giella, featured another eccentric scheme by The Riddler on ‘The Night Batman Destroyed Gotham City!’ Batman #191 featured two tales by Broome, Moldoff & Giella starting on ‘The Day Batman Sold Out!’: a “Hero Quits” teaser with a Babs Gordon cameo, whilst the faithful retainer took centre stage in charming parable ‘Alfred’s Mystery Menu’.

‘The True-False Face of Batman’ (Detective #363, by Fox Infantino &Greene) was a full co-starring vehicle as the new girl is challenged to deduce Batman’s secret identity whilst tracking down the enigmatic Mr. Brains. Fox scripted both ‘The Crystal Ball that Betrayed Batman!’ – which featured an old enemy in a new guise – and Robin solo-story ‘Dick Grayson’s Secret Guardian!’ in Batman #192, for Moldoff & Giella. They also handled his mystery-yarn ‘The Curious Case of the Crime-less Clues!’ in Detective #364, wherein Riddler and a host of Bat-baddies again test the brains and patience of the Dynamic Duo – or do they?

Issue #365 featured Broome, Moldoff & Giella’s ‘The House The Joker Built!’ which was nobody’s finest hour, whereas Fox-scripted ‘The Blockbuster goes Bat-Mad!’ in Batman #196 is compensatory sheer delight, especially since it’s accompanied by a “fair-play” whodunnit starring The Mystery Analysts of Gotham City. ‘The Problem of the Proxy Paintings!’ is the kind of Batman tale I miss most these days: witty and urbane, a genuinely engaging puzzle without benefit of angst or histrionics.

There’s plenty of the latter in ‘The Round Robin Death Threats’ (Fox, Infantino & Greene): a tense thriller spanning two issues of Detective (#366 – 367 and an almost unheard of event in those reader-friendly days). The diabolical murder-plot threatens to systematically eradicate Gotham’s worthiest citizens with the drama ending in high style in ‘Where There’s a Will… There’s a Slay!’: a chilling conclusion almost ruined by that awful title.

Batman #195 introduced radioactive villain Bag o’Bones in ‘The Spark-Spangled See-Through Man!’ – a desperate attempt to return to story-driven tales, though the ‘7 Wonder Crimes of Gotham City!’ (Detective #368 by Fox, Moldoff & Giella) was a far more enjoyable taste of bygone times. The next issue led with clever puzzler ‘The Psychic Super-Sleuth!’ and finished well with another challenging mystery in ‘The Purloined Parchment Puzzle!’ (both by Fox, Moldoff & Giella) before Detective #369, illustrated by Infantino & Greene, rather reinforced boyhood prejudices about icky girls in classy thriller ‘Batgirl Breaks Up the Dynamic Duo’ before segueing into a classic confrontation as Batman #197 reveals how ‘Catwoman Sets Her Claws for Batman!’ (Fox, Frank Springer & Greene). This frankly daft tale is most fondly remembered for the classic cover of Batgirl and Catwoman (with her Whip!!!) squaring off over Batman’s prone body – comic fans have a unique psychopathology absolutely all their very own…

Detective Comics #370 was by Broome, Moldoff & Giella, relating a superb thriller with roots in Bruce Wayne’s troubled youth. ‘The Nemesis from Batman’s Boyhood!’ is in many ways a precursor of later tales with an excellent psychologically potent premise and a soundly satisfying conclusion proving the demands of the TV shows were not exclusive or paramount. Gil Kane made his debut on the “Dominoed Daredoll” (did they really call her that? Yes. Yes they did, from page 2 onwards) in #371’s ‘Batgirl’s Costumed Cut-ups’, a masterpiece of comic dynamism that Sid Greene could be proud of but which Gardner Fox probably preferred to forget.

Batman #199’s ‘Peril of the Poison Rings’ and ‘Seven Steps to Save Face’ are far better examples of the clever plotting, memorable maguffins and rapid pace Fox was capable of, ably interpreted here by Moldoff & Giella, whilst Broome’s ‘The Fearsome Foot-Fighters!’ weak title masks a classy burglary-yarn and the regular art team’s beginning to amplify mood via heavy shadow in all their endeavours. This issue (Detective #370) was the first Bat-cover legend-in-waiting Neal Adams pencilled and inked – an awesome taste of things to come…

Batman #200 (cover-dated March 1968 and on ale mid-January) was written by wunderkind Mike Friedrich for Moldoff & Giella. ‘The Man Who Radiated Fear!’ featured a revitalised Scarecrow, and with the TV influence fading, a pre-emptive rehabilitation of the Caped Crusader began right here in a solid thriller with few laughs and plenty of guest-stars. Fox returned to top form in Detective #373, with Chic Stone & Greene illustrating ‘Mr. Freeze’s Chilling Deathtrap!’, a tale favouring drama over showbiz shtick, after which Gil Kane returned to ramp up tension in brutal vengeance fable ‘Hunt for a Robin-Killer!’ (Detective #374) whilst Stone & Giella coped well with the extended cast of villains in Batman #201’s ‘Batman’s Gangland Guardians!’: a cunning action-packed enigma wherein his greatest foes become bodyguards to a hero…

This volume ends with Detective #374 and Fox, Stone & Greene’s ‘The Frigid Finger of Fate’ and a chilling race to catch a precognitive sniper, which – more than any other story – signalled the end of the Camp-Craze Caped Crimebuster and heralded the imminent return of a Darker Knight. With this third collection from “the TV years” of Batman – all done with by Spring of 1968 – the global Bat-craze and larger popular fascination with super-heroes – and indeed the whole “Camp” trend – was dying. In comics, that resulted in a resurgence of other genres, particularly Westerns and supernatural tales. For Batman it signalled a renaissance of passion, terror and a life of shadows. Stay tuned: the best is yet to come…
© 1967, 1968, 2008 DC Comics. All Rights Reserved.

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Marvel Masterworks Daredevil volume 15


By Roger McKenzie, Frank Miller, Klaus Janson, Michael Fleischer, David Micheline, Ralph Macchio, Josef Rubinstein, Steve Ditko, Paul Gulacy & various (MARVEL)
ISBN: 978-1-3029-2927-5 (HB/Digital edition)

Matt Murdock is a blind lawyer whose remaining senses hyper-compensate, making him an astonishing acrobat, formidable fighter and living lie-detector. A second-string hero for much of his early career, Daredevil was nonetheless a striking and popular one, due mostly to the captivatingly humanistic art of Gene Colan. DD fought gangsters, super-villains and even the occasional monster or alien invasion, quipping and wisecracking his way through life and life-threatening combat, utterly unlike the grim, moody, quasi-religious metaphor he became.

After a disastrous on-again, off-again relationship with his secretary Karen Page, Murdock took up with Russian emigre Natasha Romanoff, infamous and notorious ex-spy Black Widow but their similarities and incompatibilities led to her leaving as Matt took up with flighty trouble-magnet heiress Heather Glenn…

Spanning July 1979 to July 1981 this monumental Masterworks tome compiles Daredevil #159-172 and material from Bizarre Adventures #25 (March 1981), consolidating and completing a Hero’s Transformation begun by Jim Shooter with a bold, apparently carefree Scarlet Swashbuckler devolving into a driven, terrifying figure. Daredevil became here an urban defender and compulsive avenger: a tortured demon dipped in blood. The character makeover was carried on initially by Roger McKenzie in the previous volume and continues with Frank Miller collaborating until he fully takes control: crafting audaciously shocking, groundbreakingly compelling dark delights, and making Daredevil one of comics’ most momentous, unmissable, “must-read” series.

Preceded by an appreciative commentary and Introduction from latterday scripter Charles Soule, the revitalisation resumes with ‘Marked for Murder!’ (McKenzie, Miller & Klaus Janson) wherein infallible assassin-master Eric Slaughter comes out of retirement for a very special hit on the hero of Hell’s Kitchen. Meanwhile elsewhere, veteran Daily Bugle reporter Ben Urich works a nagging hunch: slowly piecing together dusty news snippets that indicate a certain sight-impaired attorney might be far more than he seems…

The spectacular showdown between the Crimson Crimebuster and Slaughter’s hit-man army inevitably compels his covert client to eventually do his own dirty work: brutally ambushing and abducts DD’s former flame Natasha Romanoff, The Black Widow…

After a single-page info-feature on ‘Daredevil’s Billy Club!’ the saga continues in DD #160 with our hero having no choice but to place himself ‘In the Hands of Bullseye!’ – a stratagem culminating in a devastating duel and shocking defeat for the villain in #161’s ‘To Dare the Devil!’

The next issue offered a fill-in tale from Michael Fleisher & Steve Ditko wherein another radiation accident impairs the hero’s abilities and induces amnesia just as a figure from his father’s pugilistic past resurfaces. Becoming a boxer for crooked promoter Mr. Hyle, Murdock unknowingly relives his murdered dad’s last days in ‘Requiem for a Pug!’ … until his memories return and justice is served…

Stunning David v Goliath action belatedly comes in #163 as the merely mortal Man Without Fear battles The Incredible Hulk in ‘Blind Alley’ (McKenzie & Miller, inked by Josef Rubenstein & Janson) wherein Murdock’s innate compassion for hounded Bruce Banner accidentally endangers Manhattan and triggers a desperate, bone breaking, ultimately doomed attempt to save his beloved city…

In #164 McKenzie, Miller & Janson deliver an evocative ‘Exposé’, retelling the origin saga as meticulous, dogged Urich confronts the hospitalised hero with inescapable conclusions from his diligent research and a turning point is reached…

The landmark tale is followed by accompanied by Miller’s unused cover for Ditko’s fill-in, preceding a mean-&-moody modern makeover for a moribund and over-exposed Spider-Man villain. DD #165 finds the Scarlet Swashbuckler in the ‘Arms of the Octopus’ after Murdock’s millionaire girlfriend Heather is kidnapped by Dr. Otto Octavius. Her company can – and do – rebuild his mechanical tentacles with Adamantium, but “Doc Ock” stupidly underestimates both his hostage and the Man Without Fear…

The long-running plot thread of Foggy Nelson’s oft-delayed wedding finally culminates with some much-needed comedy in #166’s ‘Till Death Do Us Part!’, with true tragedy coming as old enemy The Gladiator has a breakdown and kidnaps his parole officer. With visions of Roman arenas driving him, tormented killer Melvin Potter only needs to see Daredevil to go completely over the top…

David Michelinie wrote #167 for Miller & Janson, as a cruelly wronged employee of tech company the Cord Conglomerate steals super-armour to become ‘…The Mauler!’ and exact personal justice. Constantly drawn into the conflict, DD finds his sense of justice and respect for the law at odds when another unavoidable tragedy results…

The tale is backed up by an info feature revealing the ‘Dark Secrets’ of DD’s everyday life and segues neatly into the story that changed everything.

In Daredevil #168 Miller took over the writing and with Janson’s art contributions increasing in each issue rewired the history of Matt Murdock to open an era of noir-tinged, pulp-fuelled Eisner-inspired innovation. It begins when Daredevil encounters a new bounty hunter in town and reveals a lost college-days first love. Back then diplomat’s daughter Elektra Natchios shared his secret until her father was kidnapped and murdered before her eyes, partly due to Matt’s hasty actions. She left him and vanished, apparently becoming a ninja assassin, but is now tearing up the town hunting for Eric Slaughter. Matt cannot help but get involved…

When Daredevil last defeated Bullseye, the killer was diagnosed with a brain tumour, and in #169, escapes from hospital to enact another murder spree. He is deep in a delusional state where everyone he sees are horn-headed scarlet-clad ‘Devils’. A frenetic chase and brutal battle results in countless civilian casualties and great anxiety as Daredevil has a chance to let the manic die… but doesn’t.

Yet another landmark resurrection of a tired villain begins in DD #170 as Miller & Janson decree ‘The Kingpin Must Die’. The former crimelord of New York faded into serene retirement in Japan by impassioned request of his wife Vanessa, until this triptych of terror sees him return more powerful than ever. It begins when the Devil of Hell’s Kitchen hears rumours the syndicate that replaced Wilson Fisk are trying to kill him. Apparently he has offered all his old records to the Feds…

When Vanessa hires Nelson & Murdock to broker the deal, all hell breaks loose, assassins attack and Mrs Fisk goes missing. Further complicating matters, having survived brain surgery Bullseye offers his services to the syndicate, mercenary killer Elektra senses a business opportunity and a murderously resolute Kingpin sneaks back into the country resolved to save Vanessa at any cost…

The title at last returned to monthly schedule with #171 as the city erupted into sporadic violence with civilians caught in the crossfire. DD dons a disguise and goes undercover but is soon ‘In the Kingpin’s Clutches’ and sent to a watery grave prior to Fisk gambling and losing everything…

The sags ends in all-out ‘Gangwar!’ as, with Vanessa lost and presumed dead, Wilson Fisk destroys the Syndicate and takes back control of New York’s underworld with Daredevil scoring a small toxic victory by apprehending the Kingpin’s assassin, all the while aware that every death since Bullseye’s operation has been because Murdock was not strong enough to let the monster die…

And deep in the bowels of the city, an amnesiac woman wanders, a future trigger for much death and destruction to come…

To Be Continued…

With the Marvel Universe about to change in incomprehensible ways, this tome pauses here but still finds room to focus on a solo outing for a cast regular. In Bizarre Adventures #25 (with cover and ‘Lethal Ladies’ frontispiece included), Ralph Macchio scripted an espionage tale for an older reader-base. The devious spy yarn of double and triple cross saw agents betraying each other while trying to ascertain who might be working for “the other side”.

‘I Got the Yo-Yo… You Got the String’ sets Black Widow in her proper milieu, despatched by S.H.I.E.L.D. to assassinate her former tutor Irma Klausvichnova as she hides in an African political hot spot. Of course, as the mission proceeds, Natasha learns she can’t trust anybody and everything she knows is either a lie or a test with fatal consequences…

The chilling, twist-ridden tale is elevated to excellence by the powerful monochrome tonal art of Paul Gulacy who packs the piece with sly tributes to numerous movie spies and the actors – such as Michael Caine and Humphry Bogart – who first made the genre so compelling.

The bonus gallery section opens with pertinent pages from Marvel Comics 20th Anniversary Calendar (1981) – June’s entry by Miller & Janson and their Spider-Man vs DD plate from Marvel Team-Up Portfolio One. Next come original art pages and covers, a House ad for Elektra’s debut plus the original art, cover artwork  and finished product for Marvel Super-Heroes Megazine #2 plus covers of #3, 4 & 6 (by Michael Golden, Lee Weeks, Scott McDaniel and others), and Miller’s cover and frontispiece for Daredevil Visionaries: Frank Miller volume 1 as well as his introduction from that collection.

As the decade closed, these gritty tales set the scene for truly mature forthcoming dramas, promising the true potential of Daredevil was finally in reach. Their narrative energy and exuberant excitement are dashing delights no action fan will care to miss.

…And the next volume heads full on into darker shadows, the grimmest of territory and the breaking of many more boundaries…
© 2021 MARVEL.

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Batman: Black and White volume 1


By Ted McKeever, Bruce Timm, Klaus Janson, Archie Goodwin & Gary Gianni, Katsuhiro Otomo, Joe Kubert, Howard Chaykin, Walter Simonson, José Muñoz, Jan Strnad & Richard Corben, Kent Williams, Chuck Dixon & Jorge Zaffino, Neil Gaiman & Simon Bisley, Andrew Helfer & Liberatore, Bill Sienkiewicz, Matt Wagner, Dennis O’Neil & Teddy Kristiansen, Brian Bolland, Kevin Nowlan, Brian Stelfreeze, Michael Allred, Moebius, Michael Kaluta, Tony Salmons, P. Craig Russell, Marc Silvestri, Alex Ross, Neal Adams & various (DC Comics)
ISBN: 978-1-4012-1589-7 (TPB/Digital edition)

Batman is a creature of the night. Batman is the world’s greatest detective, escapologist and master of disguise. Batman fights criminals, mad men and bad women, aliens and monsters. Batman is all this and more. In a world of fabulous eerily distorted hues and constantly shifting blinding colour (mostly red) he sees in black and white… and now so will you…

As recapped in a sagacious Introduction, in the early 1990s Batman: Black and White was originally envisioned as an experimental limited series, with editors Marl Chiarello & Scott Peterson inviting the world’s greatest comics creators – whether new to the character or long-time veterans – to tell “their” story of the Gotham Gangbuster. They would be free of all continuity constraints but operating under the sole proviso that the result should be designed to work in stark monochrome.

Results were astounding, challenging and inevitably, multi-award winning. If you are any sort of Bat-fan or aficionado of the art form there will be something in this wonderful tome to blow your socks off. Just don’t read it in front of your Nan – she spent hours knitting them.

Here is a spectacular showing from some of our world’s greatest talents, producing short complete tales without benefit or hindrance of colour. Moreover, the experiment was such a success that despite some company resistance to its very concept, the miniseries won much acclaim and many awards. Its success led to a regular black-&-white “out-continuity” slot in monthly anthology comic Gotham Knights. Those stories were collected in two subsequent B:BAW volumes. The experiment even evolved a subgenre of monochrome books starring many four-colour superstars from different companies: most of them exploiting the cultural label of “Noir”…

The groundbreaking enigmatic variations open with Ted McKeever’s ‘Perpetual Mourning’ wherein a quiet visit to the morgue opens a small dark window into the hero’s mind after which a panoply of assorted treats unfold, ranging from Archie Goodwin & Gary Gianni’s period piece ‘Heroes’ to poignant ‘Good Evening, Midnight’ written & illustrated by Klaus Janson with the hero scrutinised by the one who knows him best.

Steeped in the animated show’s trappings, Bruce Timm’s tragic ‘Two of a Kind’ interrogates Harvey Dent and Two Face’s life whereas just plain wild and weird declamatory epics ‘The Third Mask’ (by Katsuhiro Otomo) and Joe Kubert’s deeply symbolic ‘The Hunt’ are highly personal takes from major league creators showing why The Batman continues to grip public consciousness in almost any permutation or milieu.

As much thematic metaphor as artistic exercise, stories were not restricted to current DC continuity, but encouraged exploration of the character via impressionistic, personal forays such as ‘Petty Crimes’ by Howard Chaykin, with Archie Goodwin returning to script eerily memorable Jazz thriller ‘The Devil’s Trumpet’ for the astounding stylist José Muñoz.

Walter Simonson crafts future science myth ‘Legend’ whilst Jan Strnad & Richard Corben collaborate on bleak urban fable ‘Monster Maker’, even as Kent Williams revisits the night the Waynes died in ‘Dead Boys Eyes’, whilst Chuck Dixon & Jorge Zaffino’s ‘The Devil’s Children’ examines GCPD’s unique attitude to the Gotham Guardian…

Neil Gaiman & Simon Bisley’s ‘A Black and White World’ is arguably the weakest entry in the book, relying on “Fourth Wall cleverness” rather than actual plot, whereas Andrew Helfer & Liberatore’s insightful kidnap tale ‘In Dreams’ delivers a powerful punch, as does Matt Wagner’s fabulously stylish action romp ‘Heist’, before ‘Bent Twig’ delivers intense whimsy and deep, challenging philosophical questioning from Bill Sienkiewicz – and all shrouded under an ostensibly seasonal theme.

The same setting plays ‘A Slaying Song Tonight’ by Dennis O’Neil & Teddy Kristiansen, whilst Brian Bolland produces the beautifully disturbing ‘An Innocent Guy’. Strnad encores by scripting ‘Monsters in the Closet’ for forensically brilliant Kevin Nowlan, as does O’Neil for Brian Stelfreeze in chilling y introspective ‘Leavetaking’.

Chiarello’s Introduction explains how the project began and acknowledges its conceptual debt to Archie Goodwin’s tenure as writer/editor of Eerie and Warren Publication’s other groundbreaking monochrome magazines, but the collection is also superbly supplemented with background and developmental material, pin-ups and sketch pages from the likes of Michael Allred, Moebius, Michael Kaluta, Tony Salmons, P. Craig Russell, Marc Silvestri, Alex Ross and Neal Adams.

These are uncompromising visions of The Dark Knight that reshaped the medium, returning noir style and themes by offering mayhem in moody monochrome. They are Batman at his most primal and should be on every fan’s radar…
© 2000 DC Comics. All Rights Reserved.

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Showcase Presents World’s Finest volume 3


By Edmond Hamilton, Cary Bates, Jim Shooter, Leo Dorfman, Bill Finger, Curt Swan, George Klein, Sheldon Moldoff, Al Plastino & various (DC Comics)
ISBN: 978-1-84856-585-2 (TPB)

For decades Superman and Batman were quintessential superhero partners: the “World’s Finest” team. Friends as well as colleagues, their pairing made sound financial sense since DC’s top heroes could cross-pollinate and cross-sell their combined readerships. This third magnificent monochrome compendium gathers their cataclysmic collaborations from the glory days of the mid-1960’s: specifically World’s Finest Comics #146-173 – with the exception of reprint 80-Page Giant issues #161 &170 – and cumulatively covering cover-dates December 1964 through February 1968). This was a time when the entire Free World went superhero gaga in response to Batman’s live action and Superman’s animated TV shows…

A new era had begun in World’s Finest Comics #141 when author Edmond Hamilton and artists Curt Swan & George Klein (who illustrate the bulk of tales in this collection) ushered in a more dramatic, realistic and far less whimsical tone. That titanic creative trio continue their rationalist run in this volume starting with #146’s ‘Batman, Son of Krypton!’ wherein uncovered evidence from the Bottle City of Kandor and bizarre recovered memories seemed to indicate the Caped Crusader is in fact an amnesiac, de-powered, Kryptonian. Moreover, as our heroes dig deeper, Superman thinks he’s found the Earthman responsible for Krypton’s destruction and becomes crazed with a hunger for vengeance…

WFC #147’s saw the sidekicks step up in a stirring blend of science fiction thriller and crime caper, all masquerading as an engaging drama of youth-in-revolt when ‘The New Terrific Team!’ (February 1965 Hamilton, Swan & Klein) saw Jimmy Olsen and Robin quit their underappreciated assistant roles to strike out on their disgruntled own. Naturally there was a perfectly rational, if incredible, reason. In #148 ‘Superman and Batman – Outlaws!’ (with Sheldon Moldoff temporarily replacing Klein) saw the Cape & Cowl Crimebusters sent to another dimension where arch-villains Lex Luthor and Clayface were heroes and the Dark Knight and Action Ace ruthless hunted criminals, after which World’s Finest Comics #149 (May 1965 and also inked by Moldoff) dealt out ‘The Game of Secret Identities!’ with Superman locked into an increasingly obsessive battle of wits with Batman that seemed likely to break up the partnership and even lead to violent disaster…

‘The Super-Gamble with Doom!’ (#150) introduced manipulative aliens Rokk and Sorban, whose addictive and staggeringly spectacular wagering almost gets Batman killed and Earth destroyed, before ‘The Infinite Evolutions of Batman and Superman!’ in #151 introduces junior writer Cary Bates, pairing with Hamilton to produce a beguiling sci fi thriller as the Gotham Guardian transforms into a callous future-man and the Metropolis Marvel is reduced to a brutish Neanderthal…

Hamilton solo-scripted #152’s ‘The Colossal Kids!’ wherein a brace of incomprehensibly super-powered brats outmatch, outdo but never outwit Batman or Superman (and of course there are old antagonists behind the challenging campaign of humiliation) after which Bates rejoins his writing mentor for a taut and dramatic “Imaginary Story” in #153.

When Editor Mort Weisinger was expanding Superman continuity and building the legend, he knew that each new tale was an event adding to a nigh-sacred canon and that what was written and drawn mattered to readers. But as an ideas man he wasn’t going to let that aggregated “consensus history” stifle a good idea, nor would he allow his eager yet sophisticated audience to endure clichéd deus ex machina cop-outs to mar the sheer enjoyment of a captivating concept. The mantra known to every baby-boomer fan was “Not a Dream! Not a Hoax! Not a Robot!” boldly emblazoned covers depicting scenes that couldn’t possibly be true… even if it was only a comic book.

Imaginary Stories were conceived as a way of exploring non-continuity plots and scenarios devised at a time when editors believed entertainment trumped consistency and knew that every comic read was somebody’s first – or potentially last. Illustrated by as ever by Swan & Klein, ‘The Clash of Cape and Cowl!’ posited a situation where brilliant young Bruce Wayne grew up believing Superboy had murdered his father, thereafter dedicating his life to crushing all criminals as a Bat Man awaiting the day when he could expose Superman as a killer and sanctimonious fraud…

WFC #154’s ‘The Sons of Superman and Batman’ (by Hamilton) opened doors to a far less tragic Imaginary world: one where the crime fighters finally found time to marry Lois Lane and Kathy Kane and have kids. Unfortunately, their lads proved to be both a trial and initially a huge disappointment…

‘Exit Batman – Enter Nightman!’ is a canny psychological thriller with the World’s Finest Team on the cusp of their 1,000th successful shared case when a new costumed crusader threatens to break up the partnership and replace burned out Batman, after which ‘The Federation of Bizarro Idiots!’ in #156 sees well-meaning but imbecilic imperfect duplicates of Superman and Batman set up shop on Earth. They end up as pawns of the duplicitous Joker, and it does not end well…

In #157’s ‘The Abominable Brats’ – drawn with inevitable brilliance by Swan and inked by both Klein & Moldoff – featured an Imaginary Story sequel as the wayward sons of heroes return to cause even more mischief, although once more there are other insidious influences in play…

‘The Invulnerable Super-Enemy!’ (#158 by Hamilton, Swan & Klein), has the Olsen-Robin Team stumble upon three Bottled Cities and inadvertently draw their mentors into a terrifying odyssey of evil. At first it appears to be the work of Brainiac but is in fact far from it, and is followed by ‘The Cape and Cowl Crooks!’ (WFC #159), dealing with foes possessing far mightier powers than our heroes – apparently a major concern for readers of those times.

To this day whenever fans gather a cry soon echoes out, “Who’s the strongest/fastest/better dressed…?” but this canny conundrum took the theme to superbly suspenseful heights as Anti-Superman and Anti-Batman continually outwit and outmanoeuvre the heroes, seemingly possessed of impossible knowledge of their antagonists…

Leo Dorfman debuted as scripter in#160 as the heroes struggled to discredit ‘The Fatal Forecasts of Dr. Zodiac’, a scurrilous Swami who appears to control fate itself. World’s Finest Comics #161 was an 80-Page Giant reprinting past tales and not included in this collection, so we jump to #162’s ‘Pawns of the Jousting Master!’: by another fresh scripting face. Teenager Jim Shooter produced an engaging time travel romp wherein Superman and Batman are defeated in combat and compelled to travel back to Camelot in a beguiling tale of King Arthur, super-powered knights and invading aliens…

‘The Duel of the Super-Duo!’ (#163, by Shooter, Swan & Klein) pits Superman against a brainwashed Batman on a world where his mighty powers are negated and other heroes of the galaxy are imprisoned by a master manipulator, after which Dorfman delivers an engaging thriller wherein a girl who is more powerful than Superman and smarter than Batman proves to be ‘Brainiac’s Super Brain-Child!’ Bill Finger & Al Plastino step in to craft WFC #165’s ‘The Crown of Crime’ (March 1967), depicting the last days of dying mega-gangster King Wolff. His plan to go out with a bang sets the underworld ablaze and almost stymies both heroes, after which Shooter, Swan & Klein depict ‘The Danger of the Deadly Duo!’ in which the 20th generation of Batman and Superman unite to battle The Joker of 2967 and his uncanny ally Muto: a superb flight of fantasy that was sequel to a brief series of stories starring Superman’s heroic descendent in a fantastic far future world.

WFC #167 saw Bates solo script ‘The New Superman and Batman Team!’: an Imaginary Story wherein boy scientist Lex Luthor gives himself super-powers and a Kal-El who had landed on Earth without Kryptonian abilities trains himself to become an avenging Batman after his foster-father Jonathan Kent was murdered. The Smallville Stalwarts briefly united in a crime-fighting partnership, but destiny has other plans for the fore-doomed friends…

In World’s Finest #142 a lowly, embittered janitor suddenly gained all the powers of the Legion of Super-Heroes and attacked Caped Crusader and Action Ace out of frustration and jealousy. Revived by Bates for #168’s ‘The Return of the Composite Superman!’ he is actually the pawn of a truly evil villain but gloriously triumphs over his own venal nature, after which #169 hosts ‘The Supergirl-Batgirl Plot’: a whimsical fantasy feast from Bates, Swan & Klein wherein the uppity lasses apparently toil tirelessly to supplant and replace Batman and Superman before it’s revealed that the Dynamic Damsels are mere pawns of an extremely duplicitous team of female felons and a brace of old WF antagonists are actually behind the Byzantine scheme…

Issue #170 is another unincluded mammoth reprint edition, after which #171 reveals ‘The Executioner’s List!’ (script by Dorfman): an intriguing, tense murder-mystery with a mysterious sniper seemingly targeting friends of Superman and Batman, before stirring, hard-hitting Imaginary Story ‘Superman and Batman… Brothers!’ (#172, December 1967) posits a grim scenario wherein orphaned Bruce Wayne is adopted by the Kents, but cannot escape a destiny of tragedy and darkness. Written by Shooter and brilliantly interpreted by Swan & Klein, this moody thriller in many ways signalled the end of angst-free days and beginning of a darker, edgier and more cohesive DC universe for a less casual readership, thereby surrendering the mythology to an increasingly devout fan-based audience.

This stunning compendium closes with World’s Finest Comics #173 and ‘The Jekyll-Hyde Heroes!’ (Shooter, Swan & Klein) as a criminal scientist devises a way to literally transform the Cape & Cowl Crusaders into their own worst enemies…

These are gloriously clever yet uncomplicated tales whose timeless style has returned to inform if not dictate the form for much of DC’s modern television animation. The stories here are a veritable feast of witty, gritty thrillers packing as much punch and wonder now as they always have: unmissable adventure for fans of all ages!
© 1964-1968, 2010 DC Comics. All Rights Reserved.

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Marble Cake


By Scott Jason Smith (Avery Hill Publishing)
ISBN: 978-1-910395-47-9 (TPB/Digital edition)

I read a lot of graphic novels. Some are awful, many are mediocre and the rest – great, good, noteworthy or just different from the mass, commercially-driven output of a global art form and industry – I share with you.

Some publishers have a proud policy of championing that last category (Top Shelf, Drawn & Quarterly, NBM, Oni Press, Fantagraphics and others) – even though there’s seldom any real money in it. My favourite of these bold pioneers at the moment is British-based Avery Hill Publishing. I truly have not yet seen a duff or homogenised release from them.

Scott Jason Smith hails from the seamy south side of London (as all the best folk do) and quickly forged a solid reputation with self-published comics and stories like ‘Blossom the tall old lady’ and in collaborations with mainstream-adjacent contemporaries in tomes such as 69 Love Songs Illustrated.

Scott is skilled in depicting people and mundane life and possesses a sharp sense of humour, honed by spending a lot of time listening to how ordinary folk talk. Knowing what we all have in common allows for an extremely deft use of dialogue to build character and construct scenarios at once drearily familiar and subtly tweaked and twisted. This all adds a potent veracity to this particular brand of everyday adventuring which here seamlessly slips from a soap-operatic drama of the mundane or “Commedia dell’plebia” to a suitably underplayed terror-scape mirroring the Theatre of the Absurd as envisioned by Samuel Beckett or Daniel Clowes…

Marble Cake was a debut novel-length tale, relating intersecting moments of a bunch of strangers and casual near-acquaintances who all interact with till girl Tracy at the local Smartmart store. Her job leaves plenty of time to fantasize about what “her” customers do when she’s not around, but she really has no idea of what’s really going on. In fact, no one does…

Life and death, joblessness and social standing, malice and sexual desire, intolerance and ennui, but especially hopelessness and general distrust tinge every real or imagined home-life that Tracy ponders – even her own. However, when genuine threat and mystery – such as a string of baffling disappearances – increasingly grip the community, no one has any idea how to respond…

This compelling, tale challenges notion of self-worth and universal rationality in a wryly acerbic manner that will intrigue and charm lovers of slice-of-life yarns as well as surreal storytelling, and who don’t mind doing a bit of the cerebral heavy lifting themselves.
© Scott Jason Smith 2019. All rights reserved.