World’s Finest: Guardians of Earth


By Denny O’Neil, Mike Friedrich, Steve Skeates, Len Wein, Elliot S! Maggin, Dick Dillin, Joe Giella & various (DC Comics)
ISBN: 978-1-7795-0178-3 (HB)

For decades Superman and Batman were quintessential superhero partners: the “World’s Finest team”. The affable stalwarts 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 most inevitable of Paladin Pairings first occurred on the Superman radio show in the early 1940s, whilst in comics the pair had only briefly met whilst on a Justice Society of America adventure in All-Star Comics #36 (August-September 1947) – and perhaps even there they missed each other in the gaudy hubbub…

Of course, they had shared covers on World’s Finest Comics from the outset, but never crossed paths inside; sticking firmly to their specified solo adventures within. In fact, they never shared an official comic book case. However, once that Rubicon was crossed in Superman #76 (May 1952), the partnership solidified thanks to spiralling costs and dwindling page-counts. As 52-page titles dwindled to the 32, WFC permanently sealed the new deal and the industry never looked back…

The Cape and Cowl Crusaders were partners and allies from #71 onwards (July 1954), working together until the title was cancelled in the build-up to Crisis on Infinite Earths in 1986. All that is, except for a brief period when the Man of Steel was paired with other stars of DC’s firmament.

This mighty compelling compendium re-presents those cataclysmic collaborations from the turbulent 1970’s (World’s Finest Comics #198-214, spanning November 1970 to October- November 1972), as radical shifts in America’s tastes and cultural landscape fostered a hunger for more mature, socially relevant stories. That drive even affected the Dark Knight and Action Ace – so much so, in fact, that their partnership was temporarily suspended: paused so Superman could guest-star with other DC icons.

After three years, another bold experiment reunited them as parents of The Super-Sons before the regular relationship was revitalised and renewed. With the World’s Finest Heroes fully restored, their bizarrely apt pre-eminence endured another lengthy run until the title’s demise.

Without preamble the action kicks off here by returning to a thorny topic which had bedevilled fans for years…

The comic book experience is littered with eternal, unanswerable questions. The most common and most passionately asked always begin “who would win if…” or “who’s strongest/smartest/fastest…”

Here, crafted by Denny O’Neil, Dick Dillin & Joe Giella, ‘Race to Save the Universe!’ and the concluding ‘Race to Save Time’ (WFC #198-199; November and December 1970) upped the stakes on two previous competitions as the high-speed heroes are conscripted by the Guardians of the Universe to circumnavigate the entire cosmos at their greatest velocities to reverse the rampage of the mysterious Anachronids: faster-than-light creatures whose pell-mell course throughout the galaxies is actually unwinding time itself and unravelling the fabric of creation. Little does anybody suspect that Superman’s oldest enemies were behind the entire appalling scheme…

Anniversary issue #200 was crafted by regular Robin, the Teen Wonder scripter Mike Friedrich, with Dillin & Giella doing the drawing – as they did for this entire book. ‘Prisoners of the Immortal World!’ (February 1971) focusses on college-student brothers on opposite sides of the Vietnam War debate abducted along with youth icon Robin and “Mr. Establishment” Superman to a distant planet where undying vampiric aliens wage eternal war on each other.

Green Lantern pops in for #201, contesting ‘A Prize of Peril!’ (O’Neil, Dillin & Giella) which would grant either Emerald Gladiator or Man of Steel sole jurisdiction of Earth’s skies. Sadly, all is not as it seems…

Batman returned for a limited engagement in #202 as the O’Neil-penned ‘Vengeance of the Tomb-Thing!’ sees archaeologists unearth something horrific in Egypt, just before Superman seemingly goes mad and attacks his greatest friends and allies. A superb ecological scare-story, this tale changed the Man of Tomorrow’s life for decades to come…

Current Aquaman writer Steve Skeates waded in for #203 as ‘Who’s Minding the Earth?’ pits Metropolis Marvel and King of Atlantis against parthenogenetic mutant dolphins attempting to terraform the polluted world into something more welcoming to their kind…

More ecological terror underpins O’Neil’s bleak warning in #204 as ‘Journey to the End of Hope!’ finds powerless former Wonder Woman Diana Prince and Superman summoned to a barren lifeless Earth. Here a dying computer warns that a butterfly effect will inevitably lead to this future unless they prevent a certain person dying in a college campus riot. Only time will tell if they succeed as the clash does indeed cost a life despite all their efforts…

Racism, sexism and the oppression of reactionary conservative values then get a well-deserved pasting in #205’s ‘The Computer that Captured a Town!’

Here Skeates deviously layers a Teen Titans tale with a wealth of eye-opening commentary after the team are locked into a mid-Victorian parochial paradise enforced by a dead man and alien tech, until the Man of Tomorrow wades in to set things straight…

WFC #206 (October-November 1971) was an all-reprint giant, represented here by its rousing Dick Giordano cover, after which #207 again reunites the true World’s Finest team as Batman returns to solve a murder mystery in the making and save the Man of Tomorrow in ‘A Matter of Light and Death!’, after which Earth-2 sorcerer hero Doctor Fate aids the Action Ace in thwarting the extraterrestrial ‘Peril of the Planet-Smashers!’ – both courtesy of Len Wein, Dillin & Giella.

Supernatural menaces were increasingly popular as a global horror boom reshaped readers’ tastes, informing (#209) Friedrich’s ‘Meet the Tempter – and Die!’ wherein Hawkman and Superman are seduced into evil by an eternal demon, whilst Elliot S! Maggin’s ‘World of Faceless Slaves!’ in #210 catapults the Caped Kryptonian and Green Arrow into a primordial magic kingdom to liberate the vassals of diabolical sorcerer supreme Effron

The Darknight Detective returns again in #211, as O’Neil, Dillin & Giella devise a global manhunt for a ‘Fugitive from the Stars!’ Their target is a political refugee whose arrest is demanded by warriors who are a physical match for Superman, but happily, not Batman’s intellectual equals…

‘…And So My World Begins!’ in #212 is O’Neil’s thematic sequel to Justice League of America #71, which saw Mars devasted by race war and its survivors flee to the stars in search of a new homeworld. Here, Martian Manhunter J’onn J’onzz seeks Superman’s aid to rescue the last survivors from life-leeching mechanoids, unaware that a traitor has sold them all out to predatory aliens…

Maggin drills deep into super science for #213 as ‘Peril in a Very Small Place!’ finds the greater universe endangered by a microscopic and insatiable Genesis molecule, demanding a fantastic voyage into the Microverse inside a phone line for the Atom and Superman before this compilation concludes with wild west weirdness from by Skeates, O’Neil, Dillin & Giella. Here Golden Age troubleshooter The Vigilante delivers the silver bullet necessary to save Superman when ‘A Beast Stalks the Badlands!’

With covers by Neal Adams, Dick Giordano, Nick Cardy and Curt Swan & Murphy Anderson, this book is a gloriously uncomplicated treasure trove of adventures 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, pretty thrillers packing as much punch and wonder now as they always have. Utterly entrancing adventure for fans of all ages!
© 1970, 1971, 1972, 2020 DC Comics. All Rights Reserved.

Justice League of America: A Celebration of 60 Years


By Gardner Fox, Dennis O’Neil, Steve Englehart, Gerry Conway, Keith Giffen, J.M. DeMatteis, Grant Morrison, Mark Waid, Brad Meltzer, Geoff Johns, Scott Snyder, Mike Sekowsky, Dick Dillin, George Pérez, Pat Broderick, Carmine Infantino, Jim Aparo, Dick Giordano, Gil Kane, Brian Bolland, Joe Kubert, Chuck Patton, Kevin Maguire, Howard Porter, Ed Benes, Jim Lee, Jim Cheung & various (DC Comics)
ISBN: 978-1-4012-9951-4 (HB)

Win’s Christmas Gift Recommendation: Comic Perfection and the ideal Stocking Stuffer… 10/10

A keystone of the DC Universe, the Justice League of America is the reason we have comics industry today. This stunning compilation – part of a series reintroducing and exploiting the comics pedigree of veteran DC icons and concepts – is available in hardback and digital formats and offers a too-brief but astoundingly enticing sequence of snapshots detailing how the World’s Greatest Superheroes came to be, and be and be again…

Collecting material from The Brave and the Bold #28; Justice League of America #29, 30, 77, 140, 144, 200; Justice League of America Annual #2, Justice League #1, 43 and Justice League of America volume 4 #1 (covering July 1960- August 2018), the landmarks selected are all preceded by a brief critical analysis of the significant stages in their development, beginning with Part I – 1960-1964: The Happy Harbor Years

After the actual invention of the comicbook superhero – by which we mean the launch of Superman in June 1938 – the most significant event in the industry’s progress was the combination of individual sales-points into a group. Thus, what seems blindingly obvious to everyone with the benefit of four-colour hindsight was irrefutably proven – a number of popular characters could multiply readership by combining forces. Plus of course, a whole bunch of superheroes is a lot cooler than just one – or even one and a sidekick…

The Justice Society of America is rightly revered as a true landmark in the development of comic books, and – when Julius Schwartz began reviving and revitalising the nigh-defunct superhero genre in 1956 – the true key moment came a few years later with the inevitable teaming of his freshly reconfigured mystery men…

When wedded to the relatively unchanged big guns who had weathered the first fall of the Superhero at the beginning of the 1950s, the result was a new, modern, Space-Age version of the JSA and the birth of a new mythology.

That moment that changed everything for us baby-boomers came with issue #28 of The Brave and the Bold, a classical adventure title that had recently become a try-out magazine like Showcase.

Just in time for Christmas 1959, ads began running…

“Just Imagine! The mightiest heroes of our time… have banded together as the Justice League of America to stamp out the forces of evil wherever and whenever they appear!”

When the Justice League of America was launched in issue #28 of The Brave and the Bold (March 1960) it cemented the growth and validity of the genre, triggering an explosion of new characters at every company producing comics in America and even spread to the rest of the world as the 1960s progressed.

Crafted by Gardner Fox & Mike Sekowsky with inking from Bernard Sachs, Joe Giella & Murphy Anderson, ‘Starro the Conqueror!’ saw Flash, Green Lantern, Wonder Woman, Aquaman and J’onn J’onzz – Manhunter from Mars unite to defeat a marauding alien starfish whilst Superman and Batman stood by (in those naive days editors feared that their top characters could be “over-exposed” and consequently lose popularity). The team also picked up an average American kid as a mascot. “Typical teenager” Snapper Carr would prove a focus of fan controversy for decades to come…

The series went from strength to strength and triumph to triumph, peaking early with a classic revival as the team met the Justice Society of America, now sensibly relegated to an alternate Earth rather callously designated Earth-2.

From issues #29-30, ‘Crisis on Earth-Three’ and ‘The Most Dangerous Earth of All!’ reprise the first groundbreaking team-up of the JLA and JSA, after the metahuman marvels of yet another alternate Earth discover the secret of multiversal travel. Unfortunately, Ultraman, Owlman, Superwoman, Johnny Quick and Power Ring are ruthless villains from a world without heroes who see the costumed crusaders of the JLA and JSA as living practice-dummies to sharpen their evil skills upon…

With this cracking 2-part thriller a tradition of annual summer team-ups was solidly entrenched in heroic lore, giving fans endless joys for years to come and making the approaching end of school holidays less gloomy than they could have been.

Although a monster hit riding a global wave of popularity for all things masked and caped, the JLA suffered like all superhero features when tastes changed as the decade closed. Like all the survivors, the team adapted and changed…

A potted history of that interregnum, emphasising the contributions of iconoclastic scripters Denny O’Neil and Steve Englehart follows in Part II – 1969-1977: The Satellite Years after which groundbreaking issue #77 exposes a new kind of America.

America was a bubbling cauldron of social turmoil and experimentation at this time, with established beliefs constantly challenged and many previously cosy comics features were using their pages to confront issues of race, equality, and ecological decline. O’Neil and his young colleagues began to utterly redefine superhero strips with their relevancy-driven stories; transforming complacent establishment masked boy-scouts into uncertain, questioning champions and strident explorers of the revolution.

Here, the team’s mascot suddenly grows up and demands to be taken seriously. The drama commences with the heroes’ collective confidence and worldview shattered as enigmatic political populist Joe Dough suborns and compromises their beloved teen sidekick in ‘Snapper Carr… Super-Traitor!’ Crafted by O’Neil, Dick Dillin & Joe Giella, the coming-of age-yarn changed the comfy, cosy superhero game forever…

By March 1977, the team was back in traditional territory but still shaking up the readership. Issue #140, by Steve Englehart, Dick Dillin & Frank McLaughlin questioned heroism itself in ‘No Man Escapes the Manhunter!’ as the venerable Guardians of the Universe and their beloved Green Lanterns are accused of planetary extinctions – until the JLA expose a hidden ancient foe determined to destroy galactic civilisation…

Sadly, all you get here is the opening chapter, but it’s worth tracking down the entire saga elsewhere…

Closely following is issue #144 ‘The Origin of the Justice League – Minus One!’ (July 1977) by the same team. Here Green Arrow does a little checking and discovers the team have been lying about how and why they first got together: a smart and hugely enjoyable conspiracy thriller guest-starring every late 1950’s star in the DC firmament…

Change is a comic book constant and events described in the essay fill in crucial context before Part III: The Detroit Years 1982-1987 precis’ the first Beginning of the End for the World’s Greatest Superheroes, starting with blockbuster anniversary giant #200.

Here scripter Gerry Conway and artists George Pérez, Pat Broderick, Carmine Infantino, Jim Aparo, Dick Giordano, Gil Kane, Brian Bolland, Joe Kubert, Brett Breeding, Terry Austin & Frank Giacoia reprise, re-evaluate and relive the alien Appellax invasion that brought the heroes together in ‘A League Divided’: a blockbuster saga involving every past member…

Big changes began in Justice League of America Annual #2 1984. ‘The End of the Justice League!’ by Conway, Chuck Patton & Dave Hunt saw the team disband following a too-close-to-call alien attack, leading Aquaman to recruit a squad of full-time agents rather than part-time champions. Relocating to street level in Detroit, his old guard veterans Elongated Man, Martian Manhunter, Zatanna and Vixen also began training a next generation of costumed crusaders…

The biggest innovation came after a couple of publishing events recreated the universe and a new kind of team was instituted. In 1986 DC’s editorial leaders felt their 50-year continuity was stopping them winning new readers. The solution was a colossal braided-mega series to streamline, redefine and even add new characters to the mix.

The worlds-shattering, reality-altering bombast of Crisis on Infinite Earths was such a spectacular commercial success, those movers-&-shakers felt more than justified in revamping a number of their hoariest icons for their next fifty years of publishing. As well as Superman, Flash, and Wonder Woman, the moribund and unhappy Justice League of Americawas earmarked for a radical revision. Editor Andy Helfer assembled plotter Keith Giffen, scripter J.M. DeMatteis and untried penciller Kevin Maguire to produce an utterly new approach to the superhero monolith: they played them for laughs…

The series launched as Justice League with a May 1987 cover-date before retitling itself as Justice League International with #7. The new team was formed from the ashes of the old on the basis of events comprising follow-up crossover-event Legends. The gathering comprised a roster of relative second-stringers as America’s newest champions – Black Canary, Blue Beetle, Captain Marvel (now Shazam!), Dr. Fate, Green Lantern Guy Gardner and Mr. Miraclewith heavyweights Batman and Martian Manhunter J’onn J’onzz as nominal straight-men.

The first story introduced charismatic filthy-rich manipulator Maxwell Lord – who used wealth and influence to recreate the neophyte and rather shambolic team who started their march to glory by fighting and defeating a bunch of rather inept terrorist bombers in initial outing ‘Born Again’ (Giffen, DeMatteis Maguire & Terry Austin).

An eventful decade passed and the team were rebooted again, as described in Part IV: The Watchtower Years 1986-2003

After the Silver Age’s greatest team-book died a slow, painful, wasting death, not once but twice, DC were taking no chances with their next revival of the Justice League of America, tapping Big Ideas wünderkind Grant Morrison to reconstruct the group and the franchise.

The result was a gleaming paradigm of comic book perfection which again started magnificently before gradually losing the attention and favour of its originally rabid fan-base. Apparently, we’re a really fickle and shallow bunch, us comics fans…

That idea that really clicked? Put everybody’s favourite Big-Name superheroes back in the team.

It worked, but only because as well as name recognition and star quantity, there was a huge input of creative quality. The stories were smart, fast-paced, compelling, challengingly large-scale and drawn with effervescent vitality. With JLA you could see all the work undertaken to make it the best it could be on every page.

The drama begins in ‘Them!’ (January 1997 by Morrison, Howard Porter & John Dell) as a family of alien super-beings called the Hyperclan dramatically land on Earth and declare that they’re going to usher in a new Golden Age – at least by their standards.

Almost simultaneously the current iteration of the Justice League is attacked in their orbital satellite and only narrowly escape utter destruction. Tragically, one of their number does not survive…

Hyperclan’s very public promises to make Earth a paradise and attendant charm offensive does not impress veteran heroes Superman, Batman, Wonder Woman, Martian Manhunter and Aquaman or even the latest incarnations of Flash and Green Lantern.

These legends see their methods and careers questioned and are not impressed by seeming miracles or summary executions of super-criminals in the streets. They know there’s something not right about the overbearing sanctimonious newcomers…

The hits kept coming: a strung of superb adventures that enticed the readership. One of the very best and often cited as one of the best Batman stories ever created, multi-part paean to paranoia Tower of Babel saw immortal eco-terrorist Ra’s Al Ghul’s latest plan to winnow Earth’s human population to manageable levels well underway. Again, only the first instalment is here but you know where else to look…

Issue #43 declared ‘Survival of the Fittest’ (by Mark Waid, Porter & Drew Geraci), as a series of perfectly planned pre-emptive strikes cripple Martian Manhunter, Flash, Wonder Woman, Aquaman, Plastic Man and Green Lantern whilst Batman is taken out of the game by the simple expedient of stealing his parents’ remains from their graves…

Comics stars increasingly became multi-media franchises at the beginning of this century, and Part V: The Crisis Years 2006-2011 acknowledges the change as the printed form started a constant stream of ever-escalating blockbuster scenarios to compete. A perfect example is Justice League of America volume 4 #1 (October 2006) as Brad Meltzer, Ed Benes & Sandra Hope examine ‘Life’.

Thanks to the events Infinite Crisis, One Year Later and 52, Superman, Batman and Wonder Woman convene as a star-chamber to reform the Justice League of America as a force for good, only to discover that events have escaped them and a new team has already congealed (I really can’t think of a better term) to defeat the imminent menace of Professor Ivo, Felix Faust and the lethal android Amazo, plus a fearsome mystery mastermind and a few classic villains as well.

The tale is told through the heartbreaking personal tragedy of the Red Tornado, who achieves his deepest desire only to have it torn from him: an enjoyable if complex drama that hides its true purpose – that of repositioning the company’s core team in an expanded DCU which encompasses all media, tacitly accepting influences from TV shows, movies and animated cartoons underpinning everything – even the Super Friends and Justice League Unlimited-inspired HQ.

In 2011, DC took a draconian leap: restarting their entire line and continuity with a “New 52”. Justice League volume 2 #1 (November) led from the front as ‘Justice League Part One’ by biggest guns Geoff Johns, Jim Lee & Scott Williams introduced a number of newly debuted heroes acrimoniously pulled together to fight an alien invader called Darkseid

This celebration concludes with Part VI: The Media Era 1986-2018 and Justice League volume 4 #1 (August 2018) wherein Scott Snyder, Jim Cheung & Mark Morales kick off a colossal, years-long company-wide event. ‘The Totality Part 1’ sees the universe fall apart, its creator escape eternal imprisonment and the JLA hard-pressed to prevent the final triumph of Evil as represented by Lex Luthor and his Legion of Doom

Adding immeasurably to the wonderment is a superb gallery of covers by Sekowsky, Anderson, Rich Buckler, Dillin & McLaughlin, Pérez, Patton & Giordano, Maguire & Austin, Porter, Dell & Geraci, Ed & Mariah Benes, Lee & Williams and Jim Cheung.

The Justice League of America has a long, proud history of shaking things up and providing dynamic provocative, drama delivered with quality artwork. This compelling assortment is staggeringly entertaining and a monolithic testament to the inestimable value of a strong core concept matured over decades of innovation.
© 1960, 1964, 1969, 1977, 1982, 1984, 1987, 1997, 2000, 2006, 2005, 2011, 2018, 2020 DC Comics. All Rights Reserved.

Scooby-Doo! Team-Up volume 1


By Sholly Fisch, Dario Brizuela & various (DC Comics)
ISBN: 978-1401249465 (TPB)

Win’s Christmas Gift Recommendation: All-Ages Fun and Frolic… 8/10

It’s been bad year for everybody, but from my selfish and blinkered perspective, the graphic arts have been particularly diminished by the loss of many giants. Here’s an offhand tribute to two more…

The links between kids’ animated features and comicbooks are long established and, I suspect, for young consumers, indistinguishable. After all, it’s just adventure entertainment in the end…

Although never actual comics workers, animation titans and series writers Joe Ruby (March 30th 1933-August 26th 2020) and Ken Spears (March 12th 1938-November 6th 2020) co-originated dozens of cartoon shows which ultimately translated into multi-million comic book sales, joy and glee for generations and a subtle reshaping of the World’s cultural landscape. They also popularised the superhero concept on TV, through shows such as Superman, The Plastic Man Comedy/Adventure Show and Thundarr the Barbarian, consequently employing former funnybook creators such as Doug Wildey, Alex Toth, Steve Gerber, Jack Kirby and other comics giants. For all this, they are most renowned for devising mega-franchise Scooby-Doo, Where Are You!

Over decades of screen material, Scooby-Doo and his sidekicks Shaggy, Velma, Daphne and Freddy became global icons, and amidst the mountain of merchandise and derivatives generated by the franchise was a succession of comic book series from Gold Key (30 issues beginning December 1969 and ending in 1974), through Charlton (11 issues 1975-1976), Marvel (9 issues 1977-1979), Harvey (1993-1994) and Archie (21 issues, 1995-1997). The creative cast included Phil DeLara, Jack Manning, Warren Tufts, Mark Evanier, Dan Spiegle, Bill Williams, and many others.

In 1997, DC Comics acquired all the Hanna Barbera properties for its Cartoon Network imprint, which was for a very long time the last bastion of children’s comics in America. It produced some truly magical homespun material (such asTiny Titans, Batman: Brave and the Bold or Billy Batson and the Magic of Shazam!) as well as stunning interpretations of such television landmarks as Powerpuff Girls, Dexter’s Laboratory, Ben 10 and vintage gems such as The Flintstones and Scooby Doo

In 2013, the mystery-solving pesky kids fully integrated with the DCU via a digital series of team ups that inevitably manifested as comics books and graphic novels. Compiling material from Scooby-Doo! Team-Up #1-6 (January-November 2014) this first fabulous trade paperback – or eBook – features a wild parade of joint ventures from writer Sholly Fisch illustrator Dario Brizuela, colourists Franco Riesco & Heroic Age and letterers Saida Temofonte & Deron Bennett.

It all begins with Mystery Inc. aiding Dynamic Duo Batman and Robin in a hunt for mutated scientist Kirk Langstrombefore being diverted by a gang of fake flyers in ‘Man-Bat and Robbin’!’ after which issue #2 asks ‘Who’s Scared?’ As the Caped Crusader and Ace, the Bat-Hound enjoy seeing the original Scooby gang admitted to the legendary Mystery Analysts of Gotham City, the terror-inducing Scarecrow strikes, and only the canine contingent can resist his latest fear chemicals…

Still visiting Gotham City, the gang discover ‘Two Mites Make It Wrong’ as impulsive imp Bat-Mite starts his reality-altering pranks again and normality is only possible through the intervention of unforeseen antithesis Scooby-Mite

Channelling a contemporary surreal TV hit, ‘Teen Titans – Ghost!’ then brings the Mystery Machine to Jump City for a spot of haunting at Titans Tower, before Daphne and Velma visit Wonder Woman on Themyscira and indulge in a Kanga rodeo whilst the boys mess about in the invisible jet before reuniting to solve a mythological monster mystery causing ‘Trouble in Paradise’

This initial outing concludes with a mass masked hero marathon when a visit to the Super Friends’ Hall of Justice leads to a ghost hunt. Mystery soon solved, the gang, Wonder Twins Zan and Jayna, the Justice League of America and Supergirl then must all battle the notorious Legion of Doom in ‘A (Super) Friend in Need’

Despite being ostensibly aimed at TV kids, this fast-paced, funny and superbly inclusive parcel of thrills skilfully revisits the charm of early DC in stand-alone mini-sagas no self-respecting fun-fan should miss: accessible, entertaining, well-rendered yarns for the broadest range of excitement-seeking readers. This is a terrific tome offering perfect, old fashioned delight. What more do you need to know?
© 2014, 2015 Hanna-Barbera and DC Comics. All Rights Reserved. Batman, Robin, Superman, Wonder Woman and all related characters and elements are ™ DC Comics. Scooby-Doo and all related characters and elements are ™ and © Hanna-Barbera.

The Flash of Two Worlds Deluxe Edition


By Gardner Fox, John Broome, Carmine Infantino, Joe Giella, Sid Greene & various (DC Comics)
ISBN: 978-1-4012-9459-5 (HB)

Win’s Christmas Gift Recommendation: Timeless Superhero Wonderment… 10/10

As previously stated, there have been a lot of comic book anniversaries this year, possibly none more significant than original speedster The Flash who debuted in 1940. That’s happily led to a swathe of splendid vintage material being revived, such as this tome from 2009, gathering material that truly reshaped how the industry and the fanbase consumed their reading matter: a stunning collection gathering some of the most influential and beloved stories of the Silver Age.

Way back then in 1956, Super-Editor Julius Schwartz ushered in that epoch with his Showcase successes The Flash, Adam Strange and Green Lantern, directly leading to the Justice League of America (happy sixtieth!) and more revivals – which in turn inspired Fantastic Four and the whole Marvel Empire, which further changed the way comics were made and read…

Whereas 1940s tales were about magic and macho, the Silver Age polished everything with a thick veneer of SCIENCE and a wave of implausible rationalistic concepts quickly filtered into the dawning mass-consciousness of a generation of baby-boomer kids.

The most intriguing and rewarding was, of course, the notion of parallel worlds: the very crux of this celebration gathering the first half dozen Barry Allen team-ups with his predecessor Jay Garrick: specifically, the contents of The Flash #123, 129, 137, 151, 170 and 173, originally seen between September 1961 and September 1967…

The continuing adventures of the Scarlet Speedster were the bedrock of the Silver Age Revolution. After ushering in the triumphant return of the costumed superhero concept, the Crimson Comet – with key writers John Broome and Gardner Fox at the reins – set an unbelievably high standard for superhero adventure in sharp, witty tales of technology and imagination, illustrated with captivating style and clean simplicity by Carmine Infantino.

Fox didn’t write many Flash scripts at this time, but the few he did were all dynamite; none more so than the full-length epic which literally changed the scope of American comics forever. Following an Introduction from Flash-Fanatic Geoff Johns and Foreword by Paul Levitz, you can see how and why…

‘Flash of Two Worlds’ (Flash #123, September 1961 and inked by Joe Giella) introduced the theory of alternate Earths to the continuity which grew by careful extension into a multiversal structure comprising Infinite Earths. Once established as a cornerstone of a newly integrated DCU through a wealth of team-ups and escalating succession of cosmos-shaking crossover sagas, a glorious pattern was set which would, after joyous decades, eventually culminate in a spectacular Crisis on Infinite Earths

During a benefit gig, Flash (police scientist Barry Allen) accidentally slips into another dimension where he finds the comic book hero upon whom he based his own superhero identity actually exists.

Every ripping yarn he had avidly absorbed as an eager child was grim reality to Jay Garrick and his 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 make their own criminal comeback…

The floodgates were opened, and over the following months and years many Earth-1 stalwarts met their counterparts, either via annual summer collaborations in the pages of Justice League of America or in their own individual series. Schwartz even had a game go at reviving a cadre of the older titans in their own titles. Public approval was decidedly vocal and he used DC’s try-out magazines to take the next step: stories set on Earth-2 exclusively featuring Golden Age characters. Of those bold sallies only The Spectre graduated to his own title…

Received with tumultuous acclaim by the readership, the Earth-2 concept was revisited months later in #129’s ‘Double Danger on Earth!’ (June 1962) which also teasingly reintroduced evergreen 1940s stalwarts Wonder Woman, The Atom, Hawkman, Green Lantern, Doctor Mid-Nite and Black Canary. Clearly Editor Schwartz had something in mind…

‘Vengeance of the Immortal Villain!’ from #137 (June 1963) was the third incredible Earth-2 crossover, and saw both Flashes in action against 50,000-year-old tyrant Vandal Savage to save the abducted Justice Society of America: a tale leading directly to the veteran team’s first meeting with the Justice League of America and the subsequent creation of an annual team-up tradition.

When ‘Flash of Two Worlds’ introduced the concept of Infinite Earths and multiple versions of costumed crusaders, public pressure had begun almost instantly to agitate for the return of the Greats of the “Golden Age” but the Editorial powers-that-be were hesitant, fearing too many heroes would be silly and unmanageable, or worse yet, put readers off. If they could only see us now…

A less well-known but superbly gripping team-up tale is ‘Invader from the Dark Dimension!’ (Flash #151, March 1965,): another full-length shocker wherein demonic super-bandit The Shade ambitiously infiltrates Earth-1 as the opening gambit in an avaricious attempt to plunder both worlds…

Flash #170 (May 1967) was scripted by John Broome and inked by the sublime Sid Greene, reuniting the Speedsters after a gap of two years to face the ‘The See-Nothing Spells of Abra Kadabra!’, with the Earth-1 Vizier of Velocity hexed by the cunning conjuror and rendered unable to detect the villain’s actions or presence.

Sadly for the sinister spellbinder, Jay Garrick is visiting and calls on the services of JSA pals Doctors Fate and Mid-Nite to counteract the wicked wizard’s wiles…

Promptly following and concluding this cornucopia of cosmic chills, Flash #173 (September 1967, by Broome, Infantino & Greene again) featured a titanic triple team-up as Barry, Wally “Kid Flash” West and Jay were sequentially shanghaied to another galaxy as putative prey for alien hunter Golden Man in ‘Doomward Flight of the Flashes!’

However, the sneaky script slowly reveals devilish layers of intrigue since the sinister stalker’s Andromedan super-safari conceals a far more scurrilous purpose for the three speedy pawns before the wayward wanderers finally fight free and find their way home again…

Still irresistible and compellingly beautiful after all these years, the stories collected here – in lavish hardback or handy digital editions – shaped American comics for decades and are still influencing not only today’s funnybooks but also the wave of animated shows, movies and TV series which grew from them. These are tales and this is a book you simply must have.
© 1961, 1962, 1963, 1965, 1967, 2009, 2020 DC Comics. All Rights Reserved.

Golden Age Flash Archives volume 1


By Gardner F. Fox, Harry Lampert, E.E. Hibbard, Hal Sharp & various (DC Comics)
ISBN: 978-1-4012-0784-7 (HB)

The innovative fledgling company that became DC published the first ever comic book super-speedster and over the decades has constantly added more to its pantheon of stars. Devised, created and written by Gardner Fox and initially visually realised by Harry Lampert, Jay Garrick debuted as the very first Monarch of Motion in Flash Comics #1. He quickly – of course – became a veritable sensation.

“The Fastest Man Alive” wowed readers of anthologies like Flash Comics, All Star Comics, Comics Cavalcade and other titles – as well as solo vehicle All-Flash Quarterly – for just over a decade before changing tastes benched him and most other first-generation costumed crimebusters in the early1950s.

His invention as a strictly single-power superhero created a new trend in the burgeoning action-adventure Funnybook marketplace, and his particular riff was specifically replicated many times at various companies where myriad Fast Furies sprang up such as Johnny Quick , Hurricane, Silver Streak, the Whizzer, Quicksilver and Snurtle McTurtlethe Terrific Whatzit amongst so many others…

After half a decade of mostly interchangeable cops, cowboys and cosmic invaders, the concept of human speedsters and the superhero genre in general was spectacularly revived by Julie Schwartz in 1956. Showcase #4 revealed how police scientist Barry Allen became the second hero to run with the concept. We’ve not looked back since – and if we did it would all be a great big blur…

This charmingly beguiling deluxe Archive (sadly not available in not-quite-faster-than-light digital) edition collects the first year and a half – spanning January 1940 to May 1941 – of the irrepressible Garrick’s whimsically eccentric exploits in 17 (regrettably untitled) adventures from the anthology Flash Comics, revealing an appealing rawness, light-hearted whimsy and scads of narrative experimentation in tales of a brilliant nerd and (ostensibly) physical sad-sack who became a social reformer and justice-dispensing human meteor.

Following a fulsome Foreword from sometime Flash scribe Mark Waid, the fast fictions commence with the debut of ‘The Fastest Man Alive’ speedily delivering in 15 pages an origin and returning cast, and staging a classic confrontation with a sinister cabal of gangsters.

It all started years previously when student Garrick passed out in the lab at Midwestern University, only to awaken hyper-charged and the fastest creature on Earth thanks to the “hard water fumes” he had inhaled whilst unconscious. After weeks recovering in hospital, the formerly-frail chemist realised the exposure had given him super-speed and endurance. He promptly sought to impress his sort-of girlfriend Joan Williams by becoming an unstoppable football player…

Time passed, the kids graduated and Garrick moved to New York where, appalled by rampant crime, he decided to do something about it. The Flash operates mostly in secret until one day, whilst idly playing tennis with himself, Jay meets Joan again, just as mobsters try to kill her in a drive-by shooting.

Catching the storm of bullets, Jay gets reacquainted with his former paramour and discovers she is a target of criminal combine the Faultless Four: master criminals set on obtaining her father’s invention the Atomic Bombarder. In the blink of an eye Flash smashes the sinister schemes of the gang and diabolical leader Sieur Satan, saving Joan’s life whilst revelling in the sheer liberating fun and freedom of being gloriously unstoppable…

In his second appearance The Flash stumbles upon a showgirl’s murder and discovers that Yankee mobster Boss Goll and British aristocrat Lord Donelin plan to take over the entire entertainment industry with ruthless strong-arm tactics. The speedster is as much hindered as helped by wilful, “headstrong” Joan who begins her own lifetime obsession of pesky do-gooding here…

Everett E. Hibbard began a decade-long association with Flash in #3, when Major Williams’ Atomic Bombarder is targeted by foreign spies. The elderly boffin framed for treason prompts Garrick to come to his future father-in-law’s aid, before Jay and Joan smash an off-shore gambling ring graduating to kidnapping and blackmail in #4.

During these early adventures, Flash seldom donned his red, blue and yellow outfit; usually operating invisibly or undercover to play super-speed pranks with merciless, puckish glee. That started changing in #5, when the speedster saves an elderly artist from hit-men to foil mad collector Vandal who uses murder to increase the market value of his purchases.

Flash Comics #6 found Jay and Joan at old Alma Mater Midwestern, foiling a scheme to dope athletes trying to qualify for the Olympics, before #7 saw a stopover in Duluth lead to the foiling of gambler Black Mike who was industriously fixing motorcar races with a metal melting ray. For #8, the Vizier of Velocity tracks down seemingly corrupt contractors building shoddy, dangerous buildings only to find the graft and skulduggery go much further up the financial and civic food chain…

In issue #9, gangsters get hold of a scientist’s invention and the Flash finds himself battling a brigade of giant Gila Monsters, after which #10 depicts the downfall of a political cabal in the pocket of gangster Killer Kelly and stealing from the schools they administered. For #11, Garrick meets his first serious opponent in kidnap racketeer The Chief, whose sinister brilliance enables him to devise stroboscopic glasses to track and target the invisibly fast crime-crusher…

With the threat of involvement in the “European War” a constant subject of American headlines, Flash Comics #12 (December 1940) had the heroic human hurricane intervene to save tiny Ruritanian nation Kurtavia from ruthless invasion. His spectacular lightning war sees Garrick sinking submarines, repelling land armies and crushing airborne blitzkriegs for a fairy tale happy ending here, but within a year the process would become a patriotic morale booster repeated ad infinitum in every American comic book as the real world brutally intruded on the industry and nation…

Back in the USA for #13, Garrick assists old friend Jim Carter in cowboy country where the young inheritor of a silver mine is gunned down by murdering owlhoots. Jay then heads back east to crush a criminal combine sabotaging city subway construction in #14 and saves a circus from robbery, sabotage and poor attendances in #15.

Throughout all these yarns Jay paid scant attention to preserving any kind of secret identity – a fact that would soon change – but as Hal Sharp took over illustrating with #16 (Hibbard presumably devoting his energies to the contents of the forthcoming 64-page All-Flash Quarterly #1 – to be seen in a succeeding Archive collection), Joan is kidnapped by Mexican mobsters aware of her connection to The Flash. Rushing to her rescue, Garrick battles a small army, not only saving his girlfriend but even reforming bandit chief José Salvez.

This initial high-energy compilation ends with another light-hearted sporting escapade as the speedster intervenes in a gambling plot, saving a moribund baseball team from sabotage even as Jay Garrick – officially “almost as fast as the Flash” – becomes the Redskins’ (a nickname now thankfully consigned to history’s dustbin of insensitivity) star player to save them from lousy performances…

With covers by Sheldon Moldoff, Dennis Neville, George Storm, Jon L. Blummer, Hibbard and Sharp, this book is a sheer delight for lovers of the early Fights ‘n’ Tights genre: exuberant, exciting and funny, although certainly not to every modern fan’s taste. Of course, with such straightforward thrills on show any reader with an open mind could find his opinion changed in a flash.
© 1940, 1941, 1999 DC Comics. All Rights Reserved.

The Flash: 80 Years of the Fastest Man Alive – the Deluxe Edition

By Gardner F. Fox, Robert Kanigher, John Broome, Cary Bates, William Messner-Loebs, Mark Waid, Mark Millar & Grant Morrison, Geoff Johns, Francis Manapul & Brian Buccellato, Joshua Williamson, Gail Simone, Harry Lampert, Joe Kubert, Carmine Infantino, Alex Saviuk, Greg LaRocque, Mike Wieringo, Paul Ryan, Scott Kolins, Neil Googe, Clayton Henry & various (DC Comics)
ISBN: 978-1-4012-9813-5 (HB)

The Flash was the first specialist superhero in comics. He was the blessed by only one extra-normal power yet started a trend and inspired a wave of imitators.

Jay Garrick debuted as the very first Scarlet Speedster in Flash Comics #1 (January 1940) and  “The Fastest Man Alive” wowed readers for over a decade before changing tastes benched him in 1951. After a period of unremarkable he-men dominated comics pages for half a decade, the concept of speedsters, and indeed, superheroes in general were revived in 1956 by Julie Schwartz in Showcase #4 where and when police scientist Barry Allen became the second hero to run with the concept.

The Silver Age Flash, whose creation and subsequent stellar run ushered in a new and seemingly unstoppable era of costumed crusaders, died heroically during Crisis on Infinite Earths (1985-1986). He was promptly succeeded by his sidekick Kid Flash. Of course, Allen later returned from the dead, but doesn’t everyone, eventually?

There have been many super-speedsters in the DCU and most of them congregate in the conjoined metropolis of Keystone and Central City. As Kid Flash/Flash, Wally West – chronologically the third official incarnation – lived there with his true love Linda Park, his Aunt Iris (Barry Allen’s widow) and fellow fast-fighters such as Jay Garrick. Impulse (juvenile speedster Bart Allen from the future, who also became a/The Flash) and his mentor/keeper Max Mercury – the Zen Master of hyper-velocity – lived in Alabama, but often visited as they only were picoseconds away…

A true icon of the industry and art form, The Flash is synonymous with superb comics storytelling and this splendid collection – available as a bonanza hardback and in various digital formats – offers curated material from Flash Comics#1, 89, 96, Showcase #4, The Flash #106, 110, 123, 155, 275, 300, Flash #54, 91, 133, 182, The Flash #0, DC Comics Holiday Special 2017 and The Flash Giant #2, celebrating a concept as much as the heroes who serially embodied it. The stories span January 1940 to February 2019 and are augmented by a succession of essays and articles, beginning with an Introduction by Dan Didio, before sprinting head first into the first milestone.

Created and crafted by Gardner F. Fox & Harry Lampert, ‘The Origin of the Flash’ appeared in and headlined anthology Flash Comics #1, which also introduced Hawkman and Johnny Thunder amongst others. The fast-paced first feature reveals how over-achieving physics student Garrick is exposed to “hard water fumes”. After initially putting him in a coma, the accident gives him super-speed, reactions and endurance. The breezy tale speedily delivers an origin, a returning cast and a classic confrontation with sinister syndicate the Faultless Four and their diabolical leader Sieur Satan.

Essay ‘Flash of Two Whirls’ by Roy Thomas then details Garrick’s career with a canny concentration on psychologically-framed arch enemy The Thorn. She was a plant-themed villain who hid within an innocent and demure split personality called Rose, who only had two published appearances. A third “lost” adventure completes the comics section, then  follows one of many unpublished episodes shelved by the abrupt decline of superheroes at the end of the 1940s. How and why so much material was saved is also revealed in Thomas’ treatise before the action resumes with ‘Introducing the Thorn: The Flash’s Newest Opponent’.

Cover-dated November 1947, Flash Comics #89, the lead story was crafted by Robert Kanigher & Joe Kubert and detailed how a vicious, sexy criminal rampaged across the city pursued by the hero and her “sister”. Sporting a far more refined outfit, she resurfaced in Flash Comics #96 (June 1948, Kanigher & Kubert) threatening Keystone in ‘The Flash and the Thorn-Stalk’, before once again apparently perishing.

Seen here in stark monochrome, again by Kanigher & Kubert, ‘Strange Confession’ sat in a draw unpublished since 1948 until rescued by Marv Wolfman. Now it completes a trilogy of epic psycho-dramas as Rose and the Thorn battle the Fastest Man Alive again before being apparently cured by the intervention of the Justice Society of America

‘A Flash of Inspiration’ by Paul Kupperberg then sets the scene for the Allen Age of Comics…

No matter which way you look at it, the Silver Age of the American comic book began with The Flash. It’s an unjust but true fact that being first is not enough; it also helps to be best and people have to notice. MLJ’s The Shield beat Captain America to the newsstands by over a year, yet the former is all but forgotten today.

America’s comicbook industry had never really stopped trying to revive the superhero genre when Showcase #4 was released in late summer of 1956 (cover-dated October). The newsstands had already been blessed – but were left generally unruffled – by such tentative precursors as The Avenger (February-September 1955), Captain Flash (November 1954-July 1955) and a revival of Marvel’s Human Torch, Sub-Mariner and the aforementioned Captain America between December 1953 and October 1955.

Both DC’s own Captain Comet (December 1953-October 1955) and Manhunter from Mars (November 1955 until the end of the 1960’s and almost the last days of superheroes again!) had come and made little mark. What made the new Fastest Man Alive stand out and stick was … well, everything!

Once DC’s powers-that-be decided to seriously attempt superheroes once more, they moved pretty fast themselves. Editor Julie Schwartz asked office partner, fellow editor and Golden-Age Flash scripter Robert Kanigher to recreate a speedster for the Space Age, aided and abetted by Carmine Infantino and former flash artist Joe Kubert.

The new Flash was a forensic scientist simultaneously struck by lightning and bathed in exploding chemicals from his lab. Supercharged by the accident, Barry Allen cheekily took his superhero identity from an old comic book featuring his (at that time “fictional”) predecessor Jay Garrick. Designing a sleek, streamlined bodysuit (courtesy of Infantino – a major talent rapidly approaching his artistic and creative peak), Barry became point man for the spectacular revival of a genre and an entire industry.

From his spectacular run comes the pivotal event which marked the beginning of a way of life for so many addicted kids. Written by Kanigher, pencilled by Infantino and inked by Kubert, Showcase #4’s ‘Mystery of the Human Thunderbolt!’was another quick-fire origin with crime story attached as the brand-new hero discovers his powers and mission and still finds time to defeat a modern iteration of the Turtle – a criminal mastermind dubbed “the Slowest Man Alive!”.

Following his meteoric launch in Showcase #4, the Flash was uncharacteristically slow in winning his own title, but finally (after three more cautiously released trial issues) finally stood on his own wing-tipped feet in The Flash #105 (February-March 1959 – so it was out for Christmas 1958). John Broome and Gardner Fox would write the bulk of the early tales, introducing a “big science” sensibility and – courtesy of Broome – an unmatched Rogues Gallery of fantastic foes which would become the template for all proper superheroes.

Crafted by John Broome, Infantino & Joe Giella, ‘Menace of the Super-Gorilla!’ comes from The Flash #106 (May 1959). It was the second story (behind the Pied Piper’s debut) and introduces one of the most charismatic and memorable baddies in comics history. Gorilla Grodd and his hidden race of super-simians debuted here – promptly returning for the next two issues – in a cunning yarn as the ultra-advanced ape invades the human world in search of the greatest mind on Earth, which he intends to subjugate for his own nefarious purposes…

Presumably this early confidence was fuelled by DC’s inexplicable but commercially sound pro-Gorilla editorial stance (for some reason any comic with a big monkey in it markedly outsold those that didn’t in those far-ago days), but these tales are also packed with tension, action and engagingly challenging fantasy concepts.

Next up is another landmark: two in fact…

The Flash #110 (January 1960) was a huge hit, not so much for the debut of another worthy candidate to the burgeoning Rogues Gallery in ‘The Weather Wizard’ but rather for the introduction of Wally West, who in a bizarre and suspicious replay of the lightning strike that created the Scarlet Speedster became a junior version of the Fastest Man Alive. Broome, Infantino & Giella’s ‘Meet Kid Flash!’ introduced the first sidekick of the Silver Age (cover dated December 1959-January 1960 and just pipping Aqualad who premiered in Adventure Comics #269 which had a February off-sale date). Not only would Kid Flash begin his own series of back-up tales from the very next issue (a sure sign of the confidence the creators had in the character) but he would eventually inherit the mantle of the Flash himself – one of the few occasions in comics where the torch-passing actually stuck…

Super-Editor Schwartz guaranteed a new epoch with his Showcase successes Flash, Adam Strange and Green Lantern, which directly led to the Justice League of America – and even more revivals. This in turn inspired Fantastic Four and the whole Marvel Empire, which changed the way comics were made and read…

Whereas 1940s tales were about magic and macho, the Silver Age varnished everything with a thick veneer of SCIENCE and a wave of implausible rationalistic concepts quickly filtered into the dawning mass-consciousness of a generation of baby-boomer kids. The most intriguing and rewarding was, of course, the notion of parallel worlds: the very crux of this celebration and a prime component of most modern fantasy serials in books, film, TV and comics.

The continuing adventures of the Scarlet Speedster became the bedrock of the Silver Age Revolution. After ushering in the triumphant return of the costumed superhero concept, the Crimson Comet – with Broome and Fox at the reins – set an unbelievably high standard for superhero adventure in sharp, witty tales of technology and imagination, illustrated with captivating style and clean simplicity by Infantino.

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

‘Flash of Two Worlds’ (The Flash #123, September 1961 and inked by Giella) introduces the concept of alternate Earths to the continuity. The idea grew by careful extension into a multiversal structure comprising Infinite Earths. Once established as a cornerstone of a newly integrated DCU through a wealth of team-ups and escalating succession of cosmos-shaking crossover sagas, a glorious pattern was set which would, after joyous decades, eventually culminate in a spectacular Crisis on Infinite Earths

During a benefit gig Flash accidentally slips into another dimension where he finds the comic book hero upon whom he based his own superhero identity actually exists. Every ripping yarn he had avidly absorbed as an eager child was grim reality to Jay Garrick and his 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 make their own criminal comeback…

The floodgates were opened, and over the following months and years many Earth-1 stalwarts met their counterparts either via annual collaborations in the pages of Justice League of America or in their own series. Schwartz even had a game go at reviving a cadre of the older titans in their own titles. Public approval was decidedly vocal and he used DC’s try-out magazines to take the next step: stories set on Earth-2 exclusively featuring Golden Age characters, but of those bold sallies, only The Spectre briefly graduated to his own title…

When the Scarlet Speedster wasn’t boggling minds he was furiously fighting the best villains in comics. The inevitable had to happen – and finally did – in The Flash #155 (September 1965) when Broome teamed six of the Rogue’s Gallery into ‘The Gauntlet of Super-Villains!’: a bombastic Fights ‘n’ Tights extravaganza, but one with a hidden twist and a mystery foe concealed in the wings…

As tastes changed, The Flash evolved with them and survived the early 1970s downturn in superhero storytelling, but nobody was prepared for a truly big shock. When Cary Bates, Alex Saviuk & Frank Chiaramonte held ‘The Last Dance’in #275 (July 1979), it heralded the end of an era when comfortable married Barry was unable to prevent the murder of his beloved Iris by a truly insane enemy…

No, that’s not a spoiler. She came back. They always do: it’s just that nobody knew that back then and it did take decades to undo the evil act…

In the meantime, Barry moved on and began life as a widowed singleton. Anniversary epic The Flash #300 (August 1981, Bates, Infantino & Bob Smith) featured ‘1981- A Flash Odyssey’ comprising a deft recapitulation of his life and career, all wrapped up in a cunning and sadistic scheme to drive him mad perpetrated by his most vicious foe…

‘The Flash – A.K.A. Wally West’ by William Messner-Loebs ushers in the era of the third Flash as the DCU underwent a radical reboot during Crisis on Infinite Earths. Initially Wally West struggled to fill the boots of his predecessor, both in sheer ability and, more tellingly, in confidence. Feeling a fraud, he nonetheless persevered and eventually overcame, becoming the greatest to carry the name. Typifying that highly-engaging transition period comes ‘Nobody Dies’ (Flash #54 September 1991) by Messner-Loebs, Greg LaRocque & José Marzán Jr., focussing on the intricacies of the speedster’s powers as his hyper-fast abilities – and their limits – are tested whilst trying to save a flight attendant plunging from a aircraft…

Mark Waid discusses the hero’s ‘Legacy’ before ‘Out of Time’ from Flash #91 (June 1994) expands the dilemma of how much even the most powerful man can do in a classic mind-boggler by Waid, Mike Wieringo & Marzán Jr.

Towards the end of the 1990s the grand, old-fashioned Fights ‘n’ Tights mythology and methodology was given a bit of post-modern gloss when Caledonian wizards Grant Morrison and Mark Millar turned their considerable talents to Wally West incarnation of the Fastest Man Alive. In Flash #133 (cover-dated January 1998), the Celtic lads showed American writers how it’s all pronounced when Scottish legacy villain Mirror Master attacks a wounded and recuperating hero: abducting his bride-to-be Linda in ‘Flash Through the Looking Glass’. Illustrated by Paul Ryan & John Nyberg, the story features a spectacular race against time to prevent her de-aging out of existence and is followed by a memorable contribution from Geoff Johns, Scott Kolins & Dan Panosian. ‘Absolute Zero’ (Flash #182, March 2002) delves deep into the frosty psyche of arch rogue Len Snart as the chilling Captain Cold goes looking for the killer of his little sister Lisa

Reboots are an inescapable hazard of modern comics as publishers periodically seek to make old soldiers fresh and palatable to an ever-changing readership. In 2011 DC used the Flashpoint publishing event to restart their entire continuity in a project dubbed The New 52. As always, the result was instant attention-grabbing from the press but mixed results for the fans. The Flash weathered the change better than most and a new, younger Barry Allen returned to the streets of his city to start his career all over again.

Crafted by Francis Manapul and lettered by Steve Wands, ‘First Step’ offers a potent painted picture spread introducing the new-old vizier of velocity and is followed by a rehashed origin in Manapul & Brian Buccellato’s ‘Before the New 52’from The Flash #0: released in November 2012, a year after the big change.

TV Flash scripter Todd Helbing describes ‘The Impossible’ before we hit the final stretch with delightful and evocative short tale ‘Hope for the Holidays’ by Joshua Williamson & Neil Googe – taken from DC Holiday Special December 2017 and with Scarlet Speedster playing Christmas spirit – before The Flash Giant #2 (February 2019) provides ‘Get Out of the Kitchen’ by Gail Simone, Clayton Henry, reintroducing classic Rogue Mick Rory as a far nastier Heatwave.

Closing this immense commemorative tome comes Cover Highlights celebrating each era – the Golden, Silver, Bronze, Dark and Modern Ages – with a selection of unforgettable front images and a full roster of Biographies celebrating the many artist and writers who have passed on the baton since 1940.

One of the most revered comics heroes of all time, The Flash has probably been all things to most people in his/their time. Always exciting and never a waste of time, the hero is one no fan of the basics should miss. Why not try them all? It’s a marathon, not a sprint, right?
© 1940, 1947, 1948, 1956, 1959, 1960, 1961, 1965, 1979, 1981, 1991, 1994, 1998, 2002, 2012, 2017, 2019 DC Comics. DC Comics. All Rights Reserved.

Batman in the Brave and the Bold: The Bronze Age volume two


By Bob Haney, Denny O’Neil, Jim Aparo, Nick Cardy, Neal Adams, Bob Brown, Frank McLaughlin & various (DC Comics)
ISBN: 978-1-4012-8582-1 (TPB)

Win’s Christmas Gift Recommendation: Perfect Pairings for Festive Fun Seekers… 10/10

The Brave and the Bold began in 1955 as an anthology adventure comic featuring short complete tales about a variety of period heroes: a format that mirrored the contemporary movie fascination with historical dramas.

Written by Bob Kanigher, issue #1 led with Golden Gladiator, the Silent Knight and Joe Kubert’s now legendary Viking Prince. From #5 the Gladiator was increasingly alternated with Robin Hood, but such manly, mainly mainstream romps still carried the title until the end of the decade when the burgeoning costumed character revival saw B&B transform into a try-out vehicle like sister publication Showcase.

Issue #25 (August-September 1959) featured the debut of Task Force X: Suicide Squad, followed by Justice League of America (#28), Cave Carson (#31) and Hawkman (#34). Since only the JLA hit the first time out, there were return engagements for the Squad, Carson and Hawkman.

Something truly different appeared in #45-49 with the science fictional Strange Sports Stories before Brave and the Bold #50 triggered a new concept that once again truly caught the reader’s imagination.

That issue paired two superheroes – Green Arrow and Martian Manhunter – in a one-off team-up, as did succeeding issues: Aquaman and Hawkman in #51, WWII combatants Sgt. Rock, Captain Cloud, Mme. Marie and the Haunted Tank in #52 and Atom and Flash in #53. The next team-up – Robin, Aqualad and Kid Flash – swiftly evolved into the Teen Titans. After Metal Men/the Atom and Flash/Martian Manhunter, new hero Metamorpho, the Element Man debuted in #57-58.

Then it was back to superhero pairings with #59, and although no one realised it at the time this particular conjunction (Batman with Green Lantern) would be particularly significant.

After a return engagement for the Teen Titans in #60, the next two issues highlighted Earth-2 champions Starman and Black Canary, whilst Wonder Woman met Supergirl in #63.

Then, in an indication of things to come, and in anticipation of the TV-induced mania mere months away, Batman duelled hero/villain Eclipso in #64. Within two issues, following Flash/Doom Patrol (#65) and Metamorpho/Metal Men (#66), Brave and the Bold #67 saw the Caped Crusader take de facto control of the title and the lion’s share of the team-ups. With the exception of #72-73 (Spectre/Flash and Aquaman/Atom) the comic was henceforth to be a place where Batman invited the rest of company’s heroic pantheon to come and play…

For the sake of brevity and clarity and according to the wise ones who dictate such arbitrary demarcations, it’s also the point at which Comics’ Silver Age transitioned into the Bronze Age…

This second selection of unalloyed Batman pairings with other luminaries of the DC universe reprints B&B #92-109 (spanning October/November 1970 to October/November 1973) featuring the last vestiges of a continuity-reduced DC where individual story needs were seldom submerged into a cohesive overarching scenario, and where lead writer Bob Haney crafted stories that were meant to be read in isolation, drawn by a profusion of artists with only one goal: entertainment. At this time editors favoured regular if not permanent creative teams, feeling that a sense of visual and even narrative continuity would avoid confusion amongst younger readers.

It thus signalled the advent of the superb Nick Cardy as an innovative illustrator: his short run of beautifully drawn and boldly experimental assignments is still startling to see five decades later.

Haney was always at his best with terse, human scale dramas, especially “straight” crime thrillers, as in the eccentric thriller in #92 wherein Batman travels to England, embroiled in a moody, gothic murder mystery with a trio of British stereotypes fancifully christened “The Bat Squad.” Although the scratch team never reappeared, ‘Night Wears a Scarlet Shroud!’ remains a period delight and a must for those who still remember when “Eng-ga-land Swung”…

At the end of the 1960s the Comics Code Authority ended its ban on crime and horror comics to allow publishers to exploit the global interest in the supernatural. This had instantly affected comics and more and more stories had macabre overtones. It led to the revival of horror and suspense anthologies, such as the venerable House of Mystery and unquestionably the oddest team-up in B&B history.

Scripted by Denny O’Neil and illustrated by Neal Adams, #93’s ‘Red Water, Crimson Death’ is a chilling ghost story with the added advantage of having the Dark Knight’s sombre shtick counterbalanced by the musings of the sardonic laconic Cain, ethereal and hip caretaker of that haunted habitat…

Haney, Cardy and the Teen Titans returned for powerful counter-culture bomb-plot ‘Rebels in the Streets’ after which a forgotten mystery hero (I won’t spoil it for you) helps Batman get the goods on ruthless, fat-cat industrialist Ruby Ryder in ‘C.O.D. – Corpse on Delivery’ in #95 before – somewhat more palatable for continuity bugs – Sgt Rock’s second engagement with the Bat was set in contemporary times rather than in WWII. Here the honourable old soldier becomes a bureaucrat’s patsy in compelling espionage thriller ‘The Striped-Pants War!’

Haney clearly had a fondness for grizzled older heroes as former pugilist Wildcat made another comeback in #97’s South-of-the-Border saga ‘The Smile of Choclotan!’: an epic of exploration inked by Cardy over the husky he-man pencils of the hugely underrated Bob Brown.

The Phantom Stranger guested next in a truly sinister tale of suburban devil worship which found Batman thoroughly out of his depth in ‘The Mansion of the Misbegotten!’, illustrated by the man who would soon become the only B&B artist: Jim Aparo.

Brown & Cardy returned to draw the Flash saving the Gotham Gangbuster from ghostly possession in ‘The Man who Murdered the Past’ and Aparo illustrated the anniversary 100th issue as Green Lantern, Green Arrow and Black Canary had to take over for a Batman on the verge of death and trapped as ‘The Warrior in a Wheel-Chair’.

Aparo stuck around for the outrageous murder-mystery ‘Cold-Blood, Hot Gun’ wherein Metamorpho, the Element Man assists the Caped Crusader in foiling the World’s most deadly hitman, but Brave and the Bold #102 featured a true rarity.

The Teen Titans again featured in an angry tale of the generation gap but ‘Commune of Defiance’ began as an Aparo job, but in a bizarre turnabout Neal Adams – an artist legendary for blowing deadlines – was called in to finish the story, contributing the last nine pages of the tension-packed political thriller, after which Brown and Frank McLaughlin illustrated ‘A Traitor Lurks Inside Earth!’: a doomsday saga of military computers gone awry featuring the multipurpose Metal Men.

Aparo was back in #104 for a poignant story of love from beyond the grave in the enigmatically entitled ‘Second Chance for a Deadman?’ after which a depowered Wonder Woman resurfaced after a long absence in Haney & Aparo’s superb revolutionary epic ‘Play Now… Die Later!’ as Diana Prince and the Darknight Detective become pawns in a bloody South American feud exported to the streets of Gotham.

Newly penniless social reformer Green Arrow is then sucked into a murderous get-rich-quick con in #106’s ‘Double Your Money… and Die’, featuring a surprise star villain, before Black Canary co-stars in a clever take on the headline-grabbing – and still unsolved – D.B. Cooper hijacking of an airliner in ‘The 3-Million Dollar Sky’ from B&B #107 (June-July 1973). Inflation sucks: “Cooper” only got $200,000 when he jumped out of that Boeing 727 in November 1971, never to be see again…

A wonderfully chilling tale of obsession and old soldiers never dying follows as Sgt. Rock tries once more to catch the greatest monster in history on ‘The Night Batman Sold his Soul!’ before this bronze bonanza concludes with superb supernatural thriller ‘Gotham Bay, Be My Grave!’ wherein the Caped Crusader and Jack Kirby’s then newest sensation Etrigan the Demon battle an unquiet spirit determined to avenge his own execution after nearly a century…

These are some of the best and most entertainingly varied yarns from a period of magnificent creativity in the American comics industry. Aimed at a general readership, gloriously free of heavy, cloying continuity baggage and brought to stirring, action-packed life by some of the greatest artists in the business, this is a Batman for all seasons and reasons with the added bonus of some of the most fabulous and engaging co-stars a fan could imagine. How could anybody resist? Can you…?

© 1970, 1971, 1972, 1973, 2018 DC Comics. All Rights Reserved.

Batman in The Brave and the Bold: The Bronze Age volume one


By Bob Haney, Mike Sekowsky, Marv Wolfman, Ross Andru & Mike Esposito, Neal Adams, Bob Brown, Nick Cardy, Irv Novick & various (DC Comics)
ISBN: 978-1-4012-7517-4 (TPB)

The Brave and the Bold began in 1955 as an anthology adventure comic featuring short complete tales about a variety of period heroes: a format that mirrored the contemporary movie fascination with historical dramas.

Written by Bob Kanigher, issue #1 led with Golden Gladiator, the Silent Knight and Joe Kubert’s now legendary Viking Prince. From #5 the Gladiator was increasingly alternated with Robin Hood, but such manly, mainly mainstream romps carried the title until the end of the decade when the burgeoning costumed character revival saw B&B transform into a try-out vehicle like sister publication Showcase.

Issue #25 (August-September 1959) featured the debut of Task Force X: Suicide Squad, followed by Justice League of America (#28), Cave Carson (#31) and Hawkman (#34). Since only the JLA hit the first time out, there were return engagements for the Squad, Carson and Hawkman. Something truly different appeared in #45-49 with the science fictional Strange Sports Stories before Brave and the Bold #50 provided a new concept that once again truly caught the reader’s imagination.

That issue paired two superheroes – Green Arrow and Martian Manhunter – in a one-off team-up, as did succeeding issues: Aquaman and Hawkman in #51, WWII combatants Sgt Rock, Captain Cloud, Mme. Marie and the Haunted Tank in #52 and Atom and Flash in #53. The next team-up – Robin, Aqualad and Kid Flash – evolved rapidly into the Teen Titans. After Metal Men/the Atom and Flash/Martian Manhunter new hero Metamorpho, the Element Man debuted in #57-58.

Then it was back to superhero pairings with #59, and although no one realised it at the time this particular conjunction (Batman with Green Lantern) would be particularly significant.

After a return engagement for the Teen Titans in #60, the next two issues highlighted Earth-2 champions Starman and Black Canary, whilst Wonder Woman met Supergirl in #63.

Then, in an indication of things to come, and in anticipation of the TV-induced mania mere months away, Batman duelled hero/villain Eclipso in #64. Within two issues, following Flash/Doom Patrol (#65) and Metamorpho/Metal Men (#66), Brave and the Bold #67 saw the Caped Crusader take de facto control of the title and the lion’s share of the team-ups. With the exception of #72-73 (Spectre/Flash and Aquaman/Atom) the comic was henceforth to be a place where Batman invited the rest of company’s heroic pantheon to come and play…

For the sake of brevity and clarity and according to the wise ones who dictate such arbitrary demarcations, it’s also the point at which Comics’ Silver Age transitioned into the Bronze Age…

This first collection of unalloyed Batman pairings with other luminaries of the DC universe reprints B&B #74-91 (spanning October/November 1967 to August/September 1970) featuring the last vestiges of a continuity-reduced DC where individual story needs were seldom submerged into a cohesive overarching scenario, and where lead writer Bob Haney crafted stories that were meant to be read in isolation, drawn by a profusion of artists with only one goal: entertainment.

The Caped Crime-crusher took full possession of Brave and the Bold with #74’s fast-paced and dryly funny ‘Rampant Run the Robots’ as the Metal Men confront human prejudice and perfidious inventors whilst in #75 The Spectre joins the Dark Knight to free Gotham City’s Chinatown from an ancient wizard and ‘The Grasp of Shahn-Zi!’; both tales drawn by the new semi-regular art team of Ross Andru & Mike Esposito.

Illustrated by Mike Sekowsky & Jack Abel, Plastic Man helped solve the mystery of plastic-obsessed maniac The Molder in #76’s ‘Doom, What Is Thy Shape?’ after which Andru & Esposito return to limn the Atom’s participation in foiling a criminal circus performer in ‘So Thunders the Cannoneer!’

The vastly underrated Bob Brown stepped in to draw ‘In the Coils of the Copperhead’ wherein Wonder Woman found herself vying with the newly-minted Batgirl for Batman’s affections. Of course, it was all a cunning plan… or was it?

Neal Adams was a young illustrator who had worked in advertising and ghosted some newspaper strips whilst trying to break into comics. With #75 he had become a cover artist for B&B and with #79 (August-September 1968) he took over the interior art for a game-changing groundbreaking run that rewrote the rulebook for strip illustration.

‘The Track of the Hook’ paired the Dark Knight Detective with a justice-obsessed ghost. Deadman was murdered trapeze artist Boston Brand who perpetually hunted his own killer, and whose earthy, human tragedy elevated the series’ campy costumed theatrics into deeper, more mature realms of drama and action. The stories matured ten years overnight and instantly became every discerning fan’s favourite read.

‘And Hellgrammite is his Name’ then finds Batman and the Creeper defying a bug-themed super-hitman, and the Flash aids the Caped Crusader in defeating an unbeatable thug in ‘But Bork Can Hurt You!’ (both inked by Dick Giordano) before Aquaman becomes ‘The Sleepwalker from the Sea’ in an eerie tale of mind-control and sibling rivalry.

Issue # 83 took a radical turn as the Teen Titans try to save Bruce Wayne’s latest foster-son from his own inner demons in ‘Punish Not my Evil Son!’ but the next team-up was one that got many fans in a real tizzy in 1969.

‘The Angel, the Rock and the Cowl’ recounted a World War II exploit where Batman and Sgt. Rock of Easy Company hunt Nazi gold and a war criminal together, only closing the case twenty-five years later. Ignoring the kvetching about relative ages and which Earth we’re on, which raised a storm in an eggcup back then, you should focus on the fact that this is a startlingly gripping tale of great intensity and beautifully realised: one which was criminally discounted for decades as “non-canonical”.

Brave and the Bold #85 is arguably the best of an incredible run. ‘The Senator’s Been Shot!’ reunited Batman and Green Arrow in a superb multi-layered thriller of politics, corruption and cast-iron integrity, wherein Bruce Wayne stands in for a law-maker and the Emerald Archer receives a radical make-over that turned him into the fiery liberal gadfly champion of the relevancy generation…

Boston Brand returned in #86, as Batman found ‘You Can’t Hide from a ‘Deadman!’: a captivating epic of death, redemption and resurrection that became a cornerstone of Bat-mythology forever after.

What follows is a decidedly different adventure written and drawn by Mike Sekowsky and starring the venerable comics icon he had made fresh and exciting all over again.

Inked by Giordano and entitled ‘The Widow-Maker’, it tells of the son of one of Batman’s old foes who attempts to add to his tally of motoring murders by luring the Caped Crusader into a rigged high-performance car race. That’s when recently de-powered Diana Prince, once and future Wonder Woman, steps in…

Following Adams’ iconoclastic and influential run was always going to be a tough act, but veteran Irv Novick – who would also unfairly tread in Adams’ mighty shadow on Batman for years to come – did sterling work here on a gritty tale of boxing and Cold War mind-games as the Caped Crusader meets golden age troubleshooter Wildcat in ‘Count Ten… and Die!’ (B&B #88, February-March 1970).

Esposito inked that tale before reuniting with long-time collaborator Ross Andru for a brief return engagement that began with a spooky suspense-thriller pitting Batman against the mystery sensation Phantom Stranger (and his rationalist rival Dr. Terry Thirteen) in #89’s ‘Arise Ye Ghosts of Gotham!’

The team then switch pace and genre for a time-bending science fiction thriller ‘You Only Die Twice!’ guest-starring interstellar champion Adam Strange and threatening to record the fall from grace and death of the Gotham Guardian.

The comics content concludes here with issue #91, as ‘A Cold Corpse for the Collector’ provides a true gem of love and death. Haney was always at his best with terse, human scale dramas, especially “straight” crime thrillers, and his pairing of the Batman with Black Canary (transplanted from Earth-2 to replace Wonder Woman in the Justice League) saw the recently-widowed heroine searching for the Earth-1 counterpart of her dead husband…

What she got was self-delusion, heartbreak and imminent death in a masterpiece of ironic melodrama. It also signalled the advent of the superb Nick Cardy as illustrator: a short run of beautifully drawn and boldly experimental assignments that are still startling to see nearly five decades later.

These are some of the best and most entertainingly varied yarns from a period of magnificent creativity in the American comics industry. Aimed at a general readership, gloriously free of heavy, cloying continuity baggage and brought to stirring, action-packed life by some of the greatest artists in the business, this is a Batman for all seasons and reasons with the added bonus of some of the most fabulous and engaging co-stars a fan could imagine. How could anybody resist? Seriously: can you…?
© 1967, 1968, 1969, 1970, 2017 DC Comics. All Rights Reserved.

The Flash: The Silver Age volume 3


By John Broome, Gardner Fox, Carmine Infantino & various (DC Comics)
ISBN: 978-1-4012-7826-7

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 meteoric launch 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 #133-147 – spanning December 1962 through September 1964 – 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 superhero always triumphant whilst ever-expanding and establishing the broad parameters of an increasingly cohesive narrative universe.

The comicbook had gelled into a comfortable pattern of two short tales per issue leavened with semi-regular book-length thrillers. The magic begins here with an example of the double-header format as applause-addicted future conjuror Abra Kadabra takes a rather silly encore in #133 by causing ‘The Plight of the Puppet Flash!’ (Broome, Infantino & Joe Giella).

That brief and bizarre Pinocchio peril is more than compensated for by the witty and sensitive Kid Flash back-up tale ‘The Secret of the Handicapped Boys!’ as deaf, blind and mute classmates (one disability per boy, ok?) each discover the young hero’s secret identity and resolve to help the junior hero in their own manner.

In #134, Captain Cold was ‘The Man who Mastered Absolute Zero!’: in a flamboyant thriller co-starring Elongated Man, after which Iris West’s father (and Flash’s prospective father-in-law) pays an unwelcome call in the cleverly comedic ‘The Threat of the Absent-Minded Professor!’, Kid Flash then receives a beautiful new costume in the most astounding manner imaginable during the invasion thriller ‘Secret of the Three Super-Weapons!’ in #135.

‘The Mirror Master’s Invincible Bodyguards!’ – being just slow-moving light images packing ray-guns – actually weren’t, but the Scarlet Speedster had a lot more trouble when a seedy blackmailer claimed ‘Barry Allen – You’re the Flash – and I Can Prove It!’

This type of clever human-scaled story was slowly disappearing in favour of the more colourful costume epics – none more so than the wonderful Gardner Fox scripted ‘Vengeance of the Immortal Villain!’

Another incredible Earth-2 crossover, this saw the two Flashes unite to defeat 50,000-year-old Vandal Savage and save the Justice Society of America: a tale which directly led into the veteran team’s first meeting with the Justice League of America and the start of decades of trans-dimensional “Crisis” epics.

Fox also wrote ‘The Pied Piper’s Double Doom!’, a mesmeric team-up with Elongated Man, but once more the Kid Flash back-up stole the show, introducing the singular thespian Dexter Myles to the steadily growing cast in charming crime-caper comedy of errors ‘Mystery of the Matinee Idol!’

Broome was back for Flash #139, introducing the hero’s ultimate nemesis in Professor Zoom, a 25th century criminal who duplicated his super-speed to become the ‘Menace of the Reverse-Flash!’ Add in the sidebar menace of a lost-and-counting-down atomic bomb and the tension was almost suffocating…

Flash #140 (November 1963) debuts super arsonist Heat Wave in Broome’s stylish and sardonic thriller ‘The Heat is on for Captain Cold!’ before Fox pits the Monarch of Motion against ‘The Metal-Eater from Beyond the Stars!’: a bizarre energy-being able to nullify the speedster’s powers.

The majority of adventures were still produced by globetrotting scripter John Broome and the increasingly stylised and innovative art-team of Carmine Infantino & Joe Giella, and ‘The Mystery of the Flash’s Third Identity’ has them at their creative acme in a wittily absorbing super-villain yarn featuring the Top.

In another devious piece of internal comicbook logic, Broome posited that Flash’s foes looked so good because they had their own underworld bespoke tailor and armourer. This tale introduced Paul Gambi (an editorial in-joke acknowledging the dedicated contributions of über-fan and letter-writer Paul Gambaccini), setting the Vizier of Velocity on the tailor’s tail in an enticing piece of fluff that was neatly balanced by ‘Slowdown in Time’: a canny, enthralling science fiction lesson in relativity.

The real star was that most literal absent-minded professor Ira West, Barry’s prospective father-in- law and a genius who had casually deduced the civilian identity of the Flash due to discrepancies in the forensic scientist’s time-keeping…

Gardner Fox scripted the mile-a-minute romp ‘Perilous Pursuit of the Trickster!’ wherein the villain used toys stolen from children to bedevil his fast foe, whilst Broome blended legal loopholes and alien invasions to perplex the Scarlet Speedster with the ‘Puzzle of the Phantom Plunderers!’

Issue #143 featured another full-length team-up with Emerald Gladiator Hal Jordan in ‘Trail of the False Green Lanterns!’ – scripted by the ever-entrancing Fox who herein introduced future-gazing arch-foe Thomas Oscar Morrow.

The next two issues were all-Fox affairs: the eerie ‘Menace of the Man-Missile!’ pitting the Sultan of Speed against a shape-shifting atomically-mutated escaped convict whilst plucky protégé Kid Flash solo-starred in the human-interest parable ‘Lesson for a Star Athlete!’ Super-villainy resumed in Flash #145 as ‘The Weather Wizard Blows Up a Storm!’ and the normally stoic, stolid hero briefly has his head turned by captivating and inadvertently deadly visitor ‘The Girl from the Super-Fast Dimension!’

Broome scripted the wacky romp ‘The Mirror Master’s Master Stroke!’ and Frank Giacoia briefly bolstered the regular art team for Fox’s terrific terror tale ‘Fatal Fingers of the Flash!’ the kind of “high concept, big science” yarn that especially captivated kids in the age of space races and burgeoning technology – and it still enthrals today.

Issue #147 brings this third archival collection to a close with a feature length clash against two (or is it three?) of the Scarlet Speedster’s greatest foes. John Broome’s fascinating ‘Our Enemy, the Flash!’ sees schizophrenic Al Desmond attempting to reform and relinquish both his Dr. Alchemy and Mr. Element personas; only to be forcibly compelled to commit further crimes by ruthless 25th century sociopath Professor Zoom, the Reverse Flash!

These tales were crucial to the development of our art-form, but, more importantly they are brilliant, awe-inspiring, beautifully realised stories that amuse, amaze and enthral both new readers and old lags. As always, 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 art of Infantino these tales are a captivating snap-shot of when science was our friend and the universe(s) a place of infinite possibility. This wonderful compilation is another must-read item for anybody in love with the world of words-in-pictures.
© 1962, 1963, 1964, 2018 DC Comics. All Rights Reserved.

Team-Ups of the Brave and the Bold


By J. Michael Straczynski, Jesús Saíz, Chad Hardin, Justiniano, Cliff Chiang & various (DC Comics)
ISBN: 978-1-4012-2793-7 (HB)                :978-1-4012-2809-5 (TPB)

The Brave and the Bold premiered in 1955; an anthology adventure comic featuring short complete tales starring a variety of period heroes and a format mirroring and cashing in on that era’s filmic fascination with historical dramas.

Devised and written by Robert Kanigher, issue #1 led with Roman epic Golden Gladiator, medieval mystery-man The Silent Knight and Joe Kubert’s now legendary Viking Prince. Soon the Gladiator was replaced by National Periodicals/DC Comic’s iteration of Robin Hood, but the high adventure theme carried the title until the end of the decade when the burgeoning superhero revival saw B&B transform into a try-out vehicle like the astounding successful Showcase.

Used to launch enterprising concepts and characters such as Task Force X: The Suicide Squad, Cave Carson, Strange Sports Stories, Hawkman and the epochal Justice League of America, the title then evolved to create a whole sub-genre – although barely anybody noticed at the time…

That was Superhero Team-Ups.

For almost a decade DC had enjoyed great success pairing Superman with Batman and Robin in World’s Finest Comics and in 1963 sought to create another top-selling combo from their growing pantheon of masked mystery men. It didn’t hurt that the timing also allowed extra exposure for characters imminently graduating to their own starring vehicles after years as back-up features…

This was during a period when almost no costumed heroes acknowledged the jurisdiction or (usually) existence of other costumed champions. When B&B offered this succession of team-ups, they were laying the foundations for DC’s future close-knit comics continuity. Now there’s something wrong with any superstar who doesn’t regularly join every other cape or mask on-planet every five minutes or so…

That short-lived experiment eventually calcified as “Batman and…” but for a while readers were treated to some truly inspired pairings such as Metal Men and Metamorpho, Flash and The Spectre or Supergirl and Wonder Woman.

The editors even achieved their aim after Robin, Kid Flash and Aqualad remained together after their initial foray and expanded into the Teen Titans

That theme of heroes united together for a specific time and purpose was revived in 2007 for the third volume of The Brave and the Bold, resulting in many exceedingly fine modern Fights ‘n’ Tights classics, and this compilation – available in hardcover, trade paperback and digital editions – collects issues #27-33 (November 2009 – June 2010): the first seven issues scripted by TV and comics star scribe J. Michael Straczynski.

The run of easily accessible, stand-alone tales delved into some of the strangest nooks and crannies of the DCU and opens here with ‘Death of a Hero’, illustrated by Jesús Saíz wherein teenager Robby Reed visits Gotham City and soon decides to help out a Batman sorely pressed by the machinations of The Joker

The child prodigy had his own series in the 1960s as a kid who found a strange rotary device dotted with alien hieroglyphics that could temporarily transform him into a veritable army of super-beings when he dialled the English equivalents of H, E, R and O…

Here, however, after the lad dials up futuristic clairvoyant Mental Man, the visions he experiences force him to quit immediately and take to his bed…

He even forgets the Dial when he leaves, but it is soon picked up by down-&-out Travers Milton who also falls under its influence and is soon saving lives and battling beside the Dark Knight as The Star

What follows is a meteoric and tragic tale of a rise and fall…

Again limned by Saíz, B&B #28 takes us a wild trip to the ‘Firing Line’ as the Flash (Barry Allen) falls foul of a scientific experiment and winds up stranded in the middle of World War II. Injured and unable to properly use his powers, the diminished speedster is taken under the wing of legendary paramilitary aviator squadron The Blackhawks, but finds himself torn when his scruples against taking life crash into the hellish cauldron of the Battle of Bastogne and his martial love for his new comrades in arms…

Brother Power, The Geek was short-lived experimental title developed by the legendary Joe Simon at the height of the hippy-dippy 1960s (of just last week if you’re a baby booming duffer like me). He was a tailor’s mannequin mysteriously brought to life through extraordinary circumstances, just seeking his place in the world: a bizarre commentator and ultimate outsider philosophising on a world he could not understand.

That cerebral angst is tapped in ‘Lost Stories of Yesterday, Today, and Tomorrow’ as the elemental outcast crawls out of wreckage in Gotham City and clashes with Batman as they both strive to save homeless people from authoritarian brutality and greedy arsonists. Like the times it references, this story is one you have to experience rather than read about…

Straczynski & Saíz then play fast and loose with time travel in ‘The Green and the Gold’ as mystic Lord of Order Doctor Fate is helped through an emotional rough patch by Green Lantern Hal Jordan. As a result of that unnecessary kindness the mage gets to return the favour long after his own demise at the moment the Emerald Warrior most needs a helping hand…

Illustrated by Chad Hardin & Walden Wong and Justiniano, The Brave and the Bold #31 describes the ‘Small Problems’ encountered by The Atom after Ray Palmer is asked to shrink into the synapse-disrupted brain of The Joker and perform life-saving surgery. Despite his better judgement the physicist eventually agrees, but nobody could have predicted that he would be assimilated into the maniac’s memories and be forced to relive the Killer Clown’s life…

Straczynski & Saíz reunite as sea king Aquaman and hellish warrior Etrigan the Demon combine forces in a long-standing pact to thwart a revolting Cthonic invasion of ‘Night Gods’ from a hole in bottom of the ocean before this mesmerising tome concludes with a bittersweet ‘Ladies Night’ from times recently passed, illustrated by Cliff Chiang.

When sorceress Zatanna experiences a shocking dream, she contacts Wonder Woman and Batgirl Barbara Gordon, and insists that they should join her on an evening of hedonistic excess and sisterly sharing. Only Babs is left out of one moment of revelation: what Zatanna foresaw would inescapably occur to her the next day at the hands of the Joker…

Smart, moving and potently engaging, these heroic alliances are a true treat for fans of more sophisticated costumed capers, and skilfully prepared in such a way that no great knowledge of backstory is required. Team-ups are all about finding new readers and this terrific tome is a splendid example of the trick done right…
© 2009, 2010 DC Comics. All Rights Reserved.