Batman: The Golden Age volume 6


By Bill Finger, Don Cameron, Jack Schiff, Mort Weisinger, Alvin Schwartz, Joe Samachson, Joseph Greene, Edmond Hamilton, Bob Kane, Dick Sprang, Jack Burnley, Jerry Robinson & various (DC Comics)
ISBN: 978-1-4012-9416-8 (TPB)

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

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

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

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

Re-presenting a glorious and astounding treasure-trove of cape-&-cowl classics and iconic covers from Detective Comics #82-92, Batman #21-25 as well as contemporary companion tales from World’s Finest Comics #12-14, this book covers groundbreaking escapades from April/May 1943 to December 1943 to October 1944: with the Dynamic Duo continually developing and storming ahead of all competition even as the war and its themes began to fade away from the collective comics consciousness.

I’m certain it’s no coincidence that many of these Golden Age treasures are also some of the best and most reprinted tales in the Batman canon. These Golden Age greats are some of the finest tales in Batman’s decades-long canon, as lead writers Bill Finger and Don Cameron, supplemented by Joe Samachson, Jack Schiff, Alvin Schwartz, Joe Greene and Mort Weisinger, pushed the boundaries of the adventure medium whilst graphic genius Dick Sprang slowly superseded and surpassed Bob Kane and Jack Burnley, making the feature uniquely his own and keeping the Peerless Pair at the forefront of a vast army of superhero successes. Moreover, with the end of WWII in sight, the escapades became upbeat and more wide-ranging…

These tales were crafted just as triumph was turning in the air and an odour of hopeful optimism was creeping into the escapist, crime-busting yarns – and especially the stunning covers – seen here in the work of Jerry Robinson, George Roussos, Bob Kane Jack Burnley, Dick Sprang, Charles Paris and Stan Kaye…

War always stimulates creativity and advancement and these sublime adventures of Batman and Robin more than prove that axiom as the growing band of creators responsible for producing myriad adventures of the Dark Knight hit an artistic peak which only stellar stable-mate Superman and Fawcett’s Captain Marvel were able to equal or even approach.

We start here with Detective Comics #82 as Cameron, Kane & George Roussos explore the dark side of American Football through the rise and explosive downfall of the ‘Quarterback of Crime!’ after which premiere anthology World’s Finest Comics #12 reveals how ‘Alfred Gets His Man!’ (Finger & Sprang), as Batman’s faithful new retainer revives his own boyhood dreams of being a successful detective with hilarious and action-packed results…

Portly butler Alfred’s diet regime thereafter led the Gotham Guardians to a murderous mesmerising medic and criminal insurance scam in ‘Accidentally on Purpose!’, courtesy of Cameron, Kane & Roussos (Detective #83), after which Batman #21 caters an all-Sprang art extravaganza.

The drama opened with slick Schiff-scripted tale ‘The Streamlined Rustlers’, following the Gotham Gangbusters way out west to solve a devilish mystery and crush a gang of beef-stealing black market black hats, after which Cameron describes the antics of murderous big city mobster Chopper Gant who cons a military historian into planning his capers and briefly stymies Batman and Robin with his warlike ‘Blitzkrieg Bandits!’

Alvin Schwartz penned delightfully convoluted romp ‘His Lordship’s Double’ which sees newly dapper, slimline manservant Alfred asked to impersonate a purportedly crowd-shy aristocratic inventor… only to become the victim in a nasty scheme to secure the true toff’s latest invention…

It all culminates with ‘The Three Eccentrics’ by Joe Greene, which detailing the wily Penguin’s schemes to empty the coffers of a trio of Gotham’s wealthiest misfits…

Over in Detective Comics #84, Mort Weisinger & Sprang (with layouts by Ed Kressy)

pit the Partners in Peril against an incredible Underworld University churning out ‘Artists in Villainy’ before #85 – written by Bill Finger – glories in Sprang’s first brush with the Clown Prince of Crime. In one of the most madcap moments in the entire annals of adventure, Batman and his arch-foe almost unite to hunt for the daring desperado who stole the Harlequin of Hate’s shtick and glory as ‘The Joker’s Double’

World’s Finest Comics #13 featured ‘The Curse of Isis!’ (Finger & Jack Burnley, inked by brother Ray & Roussos): a maritime mystery of superstition, smugglers and sabotage after which Batman #22 offers another quicksilver quartet of classics beginning with ‘The Duped Domestics!’ by Schwartz, Bob Kane & Jerry Robinson, wherein a select number of Gotham’s butlers are targeted by a sultry seductress looking for easy inroads to swanky houses. Despite being an old enemy of Batman’s, “Belinda” more than meets her match when Alfred becomes her next patsy…

When the little rich boy secretly takes a menial job, his generous guardian is rightly baffled but after ‘Dick Grayson, Telegraph Boy!’ (Finger, Burney & Robinson) exposes a criminal enterprise centred around Gotham Observatory, the method of his madness soon becomes clear.

A new solo series debuted as Mort Weisinger & Robinson launched ‘The Adventures of Alfred’ with ‘Conversational Clue!’, wherein Batman’s batman misapprehends an overheard word at the library and stumbles into a safecracking gang. The issue concludes with ‘The Cavalier Rides Again!’ (Finger, Burnley & Charles Paris) as the Dashing Desperado mystifyingly begins bagging cheap imitations rather than authentic booty in his ongoing campaign to best the Batman…

In Detective #86, Cameron & Sprang recount how a sleuthing contest between Bruce, Dick and Alfred leads to a spectacular battle against sinister smugglers in ‘Danger Strikes Three!’ and further dramas unfold in #87’s ‘The Man of a Thousand Umbrellas’ written by Joseph Greene.

The Penguin had a bizarre appeal and the Wicked Old Bird has his own cover banner whenever he resurfaced, as in this beguiling crime-spree highlighting his uncanny arsenal of weaponised parasols, brollies and bumbershoots…

The Harlequin of Hate led in Batman #23, with Finger, Sprang & Gene McDonald’s eccentric thriller ‘The Upside Down Crimes!’, wherein the Joker turns the town topsy-turvy in his latest series of looting larcenies after which smitten Dick’s bold endeavours save classmate and ‘Damsel in Distress!’ (Cameron & Sprang) Marjory Davenport and her dad from gangster kidnappers. Unfortunately for him, she soon has her head turned by flamboyant Robin and the Boy Wonder becomes his own rival…

Anonymously scripted but again rendered by Jerry Robinson, ‘The Adventures of Alfred: Borrowed Butler!’ finds the domestic detective loaned out by Bruce Wayne to a snooty neighbour and accidentally uncovering an insider’s scheme to burgle the place.

Wrapping up this issue is another fact-packed “Police Division Story” with Batman and Robin joining the Royal Canadian Mounted Police to stop a vicious ring of fur bandits who have decided to forego robbing big city stores. Instead, the ‘Pelt Plunderers!’ (by Joe Samachson & Sprang) head due north to steal directly from the trappers…

As World War II staggered to a close and Home Front tensions subsided, spies gradually gave way to more domestic threats and menaces. Detective #88 offered a nasty glimpse at true villainy when ‘The Merchants of Misery’ – by Greene – pits the Dynamic Duo against merciless and murderous loan sharks preying on poverty-stricken families, whilst ‘Laboratory Loot!’, by Don Cameron in #89, sees the return of flamboyant crime enthusiast The Cavalier, who is ignominiously forced to join temporarily forces with Batman to thwart petty gangsters stealing loot he’d earmarked as his own…

World’s Finest Comics #14 again highlighted maritime menace as ‘Salvage Scavengers!’ (Finger Robinson & Roussos) plundered Gotham Harbor before Batman #24 adds a smidgen of science fiction flair and a dash of sheer whimsy to the regular mix. ‘It Happened in Rome’ (Samachson & Sprang) introduces Professor Carter Nichols who devises a method of time-travel dependant on deep hypnosis. His first subjects are old friend Bruce Wayne and his ward, who both wing back metaphysically back centuries for a sightseeing trip and end up saving a charioteer from race-fixers as Batmanus and Robin

Bruce also plays a pivotal role in ‘Convict Cargo!’ (Cameron & Sprang), masquerading as an embezzler to expose a ring of thugs offering perfect getaways to Gotham’s white-collar criminals. Happily, when the villain vacations turn out to be one-way trips, Gotham’s Guardians are on hand to mop up the pirates responsible.

Cameron & Robinson then describe how ‘The Adventures of Alfred: Police Line-Up!’ leads the bewildered butler into trailing the wrong crook but still nabbing a mob of bad eggs before portly purveyors of peril Tweedledum and Tweedledee(soon to be major motion picture stars!) connive their way into the position of ‘The Mayors of Yonville!’

Their flagrant abuse of civic power dumps the Dynamic Duo into jail but still isn’t enough to keep their goldmine scam from coming to light once the heroes bust out…

Detective Comics #90 exposes ‘Crime Between the Acts!’ (Greene & Kane) as the Caped Crusaders followed a Mississippi Riverboat full of crooked carnival performers from one plundered town to another, before Edmond Hamilton scripts a terrifically twisty tale in ‘The Case of the Practical Joker’, wherein some crazy and wisely anonymous prankster starts pulling stunts and having fun at the Crime Clown’s expense.

Batman #25 opens with lauded classic ‘Knights of Knavery’ (Cameron, Burnley& Robinson) which sees arch rivals Penguin and Joker join forces to steal the world’s biggest emerald and outwit all opposition, before falling foul of their own mistrust and arrogance once the Dark Knight puts his own thinking cap on.

Schwartz then leads the artists on an exotic journey as ‘The Sheik of Gotham City!’ sees an Arabian refugee working as a cab driver in Gotham abruptly restored to sovereignty over his usurped desert kingdom after our heroes foil an assassination attempt, before ‘The Adventures of Alfred: The Mesmerised Manhunter!’ (Cameron & Robinson) finds the off-duty domestic a plaything of a stage magician whilst simultaneously foiling a box office heist…

The action and suspense wrap up in spectacular style as Finger, Burnley & Robinson detail a saga of sabotage and redemption when the Dynamic Duo join the rough-and-ready electrical engineers known as ‘The Kilowatt Cowboys!’

As if the job of bringing the nation’s newest hydroelectric dam on line is not dangerous enough and a plague of thefts by murderous copper thieves isn’t cutting into productivity, most of Batman’s time is spent stopping rival wire men Jack and Alec from killing each other…

Greene and Sprang bring this marvel of nostalgic adventure to a close with ‘Crime’s Manhunt’ in Detective #92, with a particularly nasty band of bandits resorting to bounty hunting and turning in all their friends and associates for hefty rewards. Once they run out of pals to betray, they simply organise jailbreaks to provide more crooks to catch: a measure the Dark Knight takes extreme umbrage with…

The history of the American comicbook industry in almost every major aspect stem from the raw, vital and still powerfully compelling tales of DC’s twin icons: Superman and Batman.

It’s only fair and fitting that both those characters are still going strong and that their earliest adventures can be relived in chronological order in a variety of formats from relatively economical newsprint paperbacks to deluxe hardcover commemorative Archive editions – and digital formats too.

These are the stories that cemented the popularity of Batman and Robin, bringing welcome surcease to millions during a time of tremendous hardship and crisis. Even if these days aren’t nearly as perilous or desperate – and there ain’t many who thinks otherwise! – the power of such work to rouse and charm is still potent and just as necessary. You owe it to yourself and your family and even your hamster to Buy This Book…
© 1943, 1944, 2019 DC Comics. All Rights Reserved.

Outsiders by Judd Winick volume 1: The Darker Side of Justice


By Judd Winick, Geoff Johns, Phil Jimenez, Tom Raney, ChrisCross, Alé Garcia, Carlo Barberi, Ivan Reis, & various (DC Comics)
ISBN: 978-1-4012-8851-8 (TPB)

Once upon a time, superheroes sat around their assorted lairs or went about their civilian pursuits until the call of duty summoned them like firemen – or Thunderbirds – to deal with a breaking emergency. In the grim and gritty world after Crisis on Infinite Earths, the concept changed with a number of costumed adventurers evolving into pre-emptive strikers – as best exemplified by covert penal battalion and cinema darlings The Suicide Squad. Soon the philosophy had spread far and wide…

Following the break-up of Young Justice and the – of course, temporary – death of founding Teen Titan Donna Troy, a number of her grief-stricken comrades also changed from First Responders to dedicated – if morally contentious – hunters tracking down threats and menaces before they attacked… or indeed committed crimes at all…

This volume collects the initial storyline which introduced Judd Winick’s aggressive new take on edgy team-concept the Outsiders, compiling material from Teen Titans/Young Justice: Graduation Day, Teen Titans/Outsiders Secret Files 2003 and issues #1-7 of the compelling and much-missed monthly comicbook that sprang from the first two…

Winick, Alé Garcia and inkers Trevor Scott, Marlo Alquiza & Lary Stucker subdivided the tale into ‘Invocation’, ‘Commencement’ and ‘Graduation Day’ as a really sexy robot arrives from the future just as juvenile superhero team Young Justice are getting on each other’s nerves and breaking up.

Her confused actions inadvertently release a deadly android stored at S.T.A.R. Labs, which neither the child heroes nor the Teen Titans can stop. In a cataclysmic battle both Omen and Donna Troy are killed. These tragedies lead to the dissolution of Young Justice, the formation of the covert and pre-emptive Outsiders and the reformation of a new Titans group dedicated to better training the heroes of tomorrow.

Even though a frightfully contrived ploy to launch some new titles, this tale is still a punchy and effective thriller from writer Winick, penciller Alé Garcia & inkers Trevor Scott, Larry Stucker and Marlo Alquiza.

In the aftermath of the deadly debacle, the surviving champions reformed the Teen Titans as a group dedicated to better training the heroes of tomorrow. However, CIA trained ex-Green Arrow sidekick Arsenal felt that it was not enough and convinced the heartbroken Nightwing to help devise a covert and pre-emptive pack of professionals to take out perceived threats before innocent lives were endangered. Teen Titans/Outsiders Secret Files 2003 contributed a brace of tales setting the scene, beginning with ‘A Day After…’ by Winick, Geoff Johns, Ivan Reis & Mark Campos which peeks into the private lives of all involved whilst ‘Who was Donna Troy’ – written and drawn by Phil Jimenez, with inks by Andy Lanning – is a short, moving eulogy for the character set at her funeral with friends and guest-stars discussing her life and career.

The series proper begins with the 3-parter ‘Roll Call’, illustrated by Tom Raney & Scott Hanna. ‘Opening Offers’introduces new characters Thunder (daughter of original Outsider Black Lightning) and enigmatic super girl Grace, established player Jade, recently resurrected and amnesiac Rex Mason AKA Metamorpho the Element Man and, in a not particularly welcome, wise or team-building move, the futuristic fem-bot who had started the whole mess.

With her memory-banks scrubbed clean and desperately keen to redeem herself, Indigo adds eagerness and innocence to an embittered, but highly motivated and very determined team…

Their first mission catches them off-guard after a cruise ship is hijacked and an army of talking gorillas invades New York under the command of super-ape Grodd. However, the devastating actions of ‘Lawyers, Guns and Monkeys’ is quickly revealed to be no more than a sinister diversion as the Joker uses the chaos to abduct new American President Lex Luthor, leaving the team with the unwelcome task of rescuing one of the people they would most like to take out in ‘Joke’s on You’

ChrisCross & Sean Parsons depict the Outsiders’ first true hunting party in ‘Brothers in Blood’: part 1 ‘Small Potatoes’ as, after a series of small-time busts (acting on information from a mysterious and secret source), the squad uncover a diabolical scheme by religious maniac Brother Blood to steal one million babies…

The cult leader activates hypnotised deep-cover agents in ‘Finders Sleepers’ and almost murders Arsenal, but even as the hero is undergoing life-saving surgery, the Outsiders – assisted by two vengeful generations of Green Arrow – rocket to Antarctica where Blood is attempting to free and recruit 1,600 metahuman villains incarcerated in maximum security super-prison the Slab.

As the battle rages and casualties mount, Nightwing is forced to choose between saving the infants or allowing Blood and an army of criminals to escape in concluding chapter ‘Pandora’s Box’

This first collection ends on a powerfully poignant and personal note as Metamorpho at last discovers the shocking reason for his lack of memories and faces ultimate dissolution in the superbly downbeat and disturbing ‘Oedipus Rex’ (by Raney & Hanna)…

Adding extra lustre and clarity, information pages on Thunder, Arsenal, Nightwing, Jade, Grace, Indigo & Metamorpho by Winick, Jason Pearson, Garcia. Raney & Mike McKone, reveal all you need to know about the secret strike force…

Fast-paced, action-packed, cynically sharp and edgily effective, Outsiders was one of the very best series pursuing the “take-‘em out first” concept and resulted in some of the very best Fights ‘n’ Tights action of the last ten years. Still punchy, evocative and highly effective, these thrillers will delight older fans of the genre.
© 2003, 2004, 2019 DC Comics. All Rights Reserved.

Batman: The Brave and the Bold volume 1


By Matt Wayne, J. Torres, Andy Suriano, Phil Moy, Carlo Barberi, Dan Davis & Terry Beatty (DC Comics)
ISBN: 978-1-4012-2650-3 (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 which mirrored that era’s filmic fascination with historical dramas. Devised and written by Bob 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 increasingly alternated with Robin Hood, but the manly adventure theme carried the title until the end of the decade when the burgeoning costumed character revival saw B&B transform into a try-out vehicle in the manner of Showcase.

Used to premiere concepts and characters such as Task Force X: The Suicide Squad, Cave Carson, Hawkman, Strange Sports Stories and the epochal Justice League of America, the comic soldiered on until issue #50 when it provided another innovative new direction which once again truly caught the public’s imagination.

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

From then it was back to the extremely popular superhero pairings with #59, and although no gone realised it at the time, this particular conjunction – Batman with Green Lantern – would be particularly significant….

After a return engagement for the Teen Titans, two issues spotlighting Earth-2 champions Starman & Black Canary and Wonder Woman witth Supergirl, an indication of things to come materialised as Batman duelled hero/villain Eclipso in #64: an acknowledgement of the brewing TV-induced mania mere months away…

Within two issues, following Flash/Doom Patrol and Metamorpho/Metal Men, 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 a place where Batman invited the rest of company’s heroic pantheon to come and play…

Decades later, the Batman Animated TV series masterminded by Bruce Timm and Paul Dini in the 1990s revolutionised the Dark Knight and subsequently led to some of the absolute best comicbook adventures in his decades-long publishing history with the creation of the spin-off print title.

With constant funny book iterations and tie-ins to a succession of TV cartoon series, Batman has remained popular and a sublime introducer of kids to the magical world of the printed page.

One relatively recent incarnation was Batman: the Brave and the Bold, which gloriously teamed up the all-ages small-screen Dark Knight with a torrent and profusion of DC’s other heroic creations, and once again the show was supplemented by a cool kid’s comic book full of fun, verve and swashbuckling dash, cunningly crafted to appeal as much to the parents and grandparents as those fresh-faced neophyte kids…

This stellar premier collection (available in paperback but aggravatingly not in digital editions) gathers the first 6 issues in a hip, trendy, immensely entertaining package suitable for newcomers, fans and aficionados of all ages and, although not necessary to the reader’s enjoyment, a passing familiarity with the TV episodes will enhance the overall experience (and they’re pretty good too)…

Following the format of the TV show, each tale opens with a brief vignette adventure before telling a longer tale. Issue #1 has the Caped Crimebuster and Aquaman putting paid to robotic rogue Carapax. This feeds into main feature ‘The Panic of the Composite Creature’ (by Matt Wayne, Andy Suriano & Dan Davis) wherein Batman and the pulchritudinous Power Girl save London from Lex Luthor’s latest monster-making mechanism.

Phil Moy illustrates Superman and the Gotham Guardian mopping up the terrible Toyman before ‘The Attack of the Virtual Villains’ finds the Bat and Blue Beetle in El Paso battling evil Artificial Intellect The Thinker, in a compelling and extremely challenging computer-game world…

After an introductory battle between Wonder Woman , Dark Knight and telepathic tyrant Dr. Psycho’s zombie villains, ‘President Batman!’ (Wayne, Suriano & Davis) sees the Great Detective substitute for the Commander-in-Chief, with Green Arrow as bodyguard when body-swapping mastermind Ultra-Humanite attempts to seize control of the nation.

Then, in full-length thriller ‘Menace of the Time Thief!’, Aquaman and his bat-eared chum prevent well-intentioned Dr. Cyber from catastrophically rewriting history, following a magical and too brief prologue wherein sorcerer Felix Faust is foiled by a baby Batman and the glorious pushy terrible toddlers Sugar and Spike

Torres, Carlo Barberi & Terry Beatty stepped in for both the chilling vignette wherein the nefarious Key is caught by Batman and a Haunted Tank whilst ‘The Case of the Fractured Fairy Tale’ opens as the awesome Queen of Fables starts stealing children for her Enchanted Forest and the Caped Crusader needs the help of both Billy Batson and his Shazam!-shouting adult alter ego Captain Marvel

This initial outing concludes with a preliminary clash between Hourman and Batman against the crafty Calculator, after which ‘Charge of the Army Eternal!’ (Torres, Suriano & Davis) finds villainous General Immortus at the mercy of his own army of time-lost warrior bandits and desperately seeking the help of the Gotham Gangbuster and ghostly Guardian Kid Eternity..

Although greatly outnumbered, the Kid’s ability to summon past heroes such as The Vigilante, Shining Knight, Viking Prince and G.I. Robot proves invaluable, especially once the General inevitably betrays his rescuers…

This fabulously fun rollercoaster ride also includes informative ‘Secret Bat Files’ on Luthor, Power Girl, Thinker, Blue Beetle, Ultra-Humanite, Green Arrow, Dr. Cyber, Aquaman, Queen of Fables, Captain Marvel, General Immortus and Kid Eternity, and the package is topped off with a spiffy cover gallery courtesy of James Tucker, Scott Jeralds & Hi-Fi.

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…

Despite being ostensibly aimed at TV viewing kids, these short, sweet sagas are also wonderful, traditional comics thrillers no self-respecting fun-fan should miss: accessible, entertaining, well-rendered yarns for the broadest range of excitement-seeking readers, making this terrific tome a perfect, old fashioned delight. What more do you need to know?
© 2009 DC Comics. Compilation © 2008, 2009 DC Comics. All Rights Reserved.

Wonder Woman: The Twelve Labors


By Martin Pasko, Elliot S. Maggin, Cary Bates, Len Wein, Curt Swan, John Rosenberger, Irv Novick, Dick Dillin, Kurt Schaffenberger, Dick Giordano, Jose Delbo & various (DC Comics)
ISBN: 978-1-4012-3494-2 (PB)

The Princess of Paradise Island originally debuted as a special feature in All Star Comics #8 (December 1941), conceived by polygraph pioneer William Moulton Marston and illustrated by Harry G. Peter in a calculated attempt to offer girls a positive and forceful role model and – on forward-thinking Editor M.C. Gaines’ part – sell more comic books.

She catapulted into her own series and the cover-spot of new anthology title Sensation Comics a month later. An instant hit, the Amazing Amazon won her own eponymous supplemental title a few months later, cover-dated Summer 1942.

Once upon a time on a hidden island of immortal super-women, American aviator Steve Trevor of US Army Intelligence crashed to Earth. Near death, he was nursed back to health by young, impressionable Princess Diana.

Fearful of her besotted child’s growing obsession with the creature from a long-forgotten and madly violent world, Diana’s mother Queen Hippolyte revealed the hidden history of the Amazons: how they were seduced and betrayed by men but rescued by the goddess Aphrodite on condition that they forever isolated themselves from the mortal world and devoted their eternal lives to becoming ideal, perfect creatures.

However, with the planet in crisis, goddesses Athena and Aphrodite instructed Hippolyte to send an Amazon back with the American to fight for global freedom and liberty. She would be chosen by triumphing over all her sisters in a grand tournament. Although forbidden to compete, Diana clandestinely overcame all other candidates to become their emissary – Wonder Woman.

On arriving in the Land of the Free, she purchased the identity and credentials of lovelorn Army nurse Diana Prince, elegantly allowing the Amazing Amazon to stay close to Steve whilst enabling the heartsick but poverty-stricken care-worker to join her own fiancé in South America. Diana soon gained a position with Army Intelligence as secretary to General Darnell, further ensuring she would always be able to watch over her beloved. She little suspected that, although the painfully shallow Steve only had eyes for the dazzling Amazon superwoman, the General had fallen for the mousy yet supremely competent and capable Lieutenant Prince…

That set up enabled the Star-Spangled Siren to weather the vicissitudes of the notoriously transient comicbook marketplace and survive the end of the Golden Age of costumed heroes along with Superman, Batman and a few lucky second-stringers who inhabited the backs of their titles.

She soldiered on well into the Silver Age revival under the canny auspices of Robert Kanigher, Ross Andru & Mike Esposito, but by 1968 superhero comics were in decline again and publishers sought new ways to keep audiences interested as tastes – and American society – changed.

Back then, the entire industry depended on newsstand sales and if you weren’t popular, you died. Editor Jack Miller & Mike Sekowsky stepped up with a radical proposal and made a little bit of comic book history with the only female superhero to still have her own title in that turbulent marketplace.

The superbly eccentric art of Sekowsky had been a DC mainstay for nearly two decades, and he had also scored big with fans at Gold Key with Man from Uncle and at Tower Comics in T.H.U.N.D.E.R. Agents and war title Fight the Enemy! His unique take on the Justice League of America had cemented its overwhelming success, and in 1968 he began stretching himself further with a number of experimental, young-adult oriented projects.

Tapping into the teen zeitgeist with Easy Rider style drama Jason’s Quest proved ultimately unsuccessful, but with the Metal Men and the hopelessly outdated and moribund Wonder Woman he had much greater impact. Sekowsky would subsequently work the same magic with equally stalled icon Supergirl

The big change came when the Amazons were compelled to leave our dimension, taking with them all their magic – including Wonder Woman’s powers and all her mystic weaponry. Now no more or less than human, she opted to stay on Earth permanently, assuming her own secret identity of Diana Prince, dedicated to fighting injustice as a mortal, very much in the manner of Emma Peel and Modesty Blaise.

Blind Buddhist monk I Ching rather rapidly trained her as a martial artist, and she soon became embroiled in the schemes of would-be world-conqueror Doctor Cyber. Most shockingly, her beloved Steve was branded a traitor and murdered…

Sekowsky’s root and branch overhaul offered a whole new kind of Wonder Woman, but as I’ve already said fashion ruled and, in a few years, without fanfare or warning, everything that had happened since Wonder Woman lost her powers was unwritten. Her mythical origins were revised and re-established as she returned to a world of immortals, gods, mythical monster and super-villains with a new nemesis: an African (or perhaps Hellenic?) American half-sister named Nubia

Such an abrupt reversal had tongues wagging and heads spinning in fan circles. Had the series offended some shady “higher-ups” who didn’t want controversy or a shake-up of the status quo?

Probably not. Sales were never great even on the Sekowsky run and the most logical reason is probably Television.

The Amazon had been optioned as a series since the days of the Batman TV show in 1967, and by this time (1973) production work had begun on the original 1974 pilot featuring Cathy Lee Crosby. An abrupt return to the character most viewers would be familiar with from their own childhoods seems perfectly logical to me…

By the time Lynda Carter made the concept work in 1975, Wonder Woman was once again “Stronger than Hercules, swifter than Mercury and more beautiful than Aphrodite”…

But as Diana returned to mainstream DC continuity, the readers and fans expected her to fully reintegrate, leading to this early and impressive example of a comics miniseries which ran in Wonder Woman #212 through 222 (cover-dates July 1974 – March 1976), detailing how the Amazing Amazon rejoined the JLA.

Scripter Len Wein and artists Curt Swan & Tex Blaisdell got the ball rolling with ‘The Man Who Mastered Women!’ as our Hellenic Hellion thwarts a terrorist attack at New York’s United Nations building… where Diana Prince now works as a translator. In the aftermath she surprisingly meets old friend Clark Kent.

Over the course of the conversation she realises her memories have been tampered with and suddenly understands why her JLA colleagues haven’t called her to any meetings… She had resigned years ago…

Although her former comrades beg her to re-enlist, she declines, fearing her memory lapses might endanger the team and the world. After much insistent pleading, she relents enough to suggest the League should covertly monitor her next dozen major cases – in the manner of Hercules’ twelve legendary tests – until she proves herself competent and worthy, for her own peace of mind, if not the JLA’s…

Once they grudgingly agree, she leaves and Superman begins the surveillance, observing her flying to Paradise Island in her Invisible Plane. Correctly deducing she has been subjected to Amazonian selective memory manipulation, Diana confronts her mother and learns of her time as a mere mortal… and of Steve’s death.

Although the past has been removed by her well-meaning Amazon sisters, Diana now demands that every recollection excised be returned…

Back in Man’s World, a crisis is already brewing as costumed crazy The Cavalier exerts his uncanny influence over women to control female Heads of State. Ultimately, however, his powers prove ineffectual over Wonder Woman…

As a result of that case, Diana Prince changes jobs, going to work as a troubleshooter for dashing Morgan Tracy at the UN Crisis Bureau, and her first mission isn’t long in coming…

Wonder Woman #213 was crafted by Cary Bates, Irv Novick & Blaisdell, detailing how an alien robot removes all aggression from humanity in one stroke. As the Flash helplessly observes, however, ‘The War-No-More Machine!’ also quashes all bravery, determination, confidence and capability. The species faced imminent – if long and drawn out – extinction.

Happily, Diana, a teenaged girl and a murderous criminal are all somehow immune to the invader’s influence…

Elliot S. Maggin, Swan & Phil Zupa then disclose Green Lantern Hal Jordan’s undercover observations after a lost Amazon gem in unwitting, unscrupulous hands almost starts World War III and the Princess of Power must avert nuclear holocaust triggered by a ‘Wish Upon a Star!’

The superb and vastly undervalued John Rosenberger pencilled Bates’ tale of the ‘Amazon Attack Against Atlantis’ (inked by Vince Colletta) as Aquaman watches Wonder Woman unravel a baroque and barbaric plot by Mars, God of War to set Earth’s two most advanced nations at each throats, after which #216 finds Black Canary uncovering the Amazon Sisterhood’s greatest secret in ‘Paradise in Peril!’ (Maggin, Rosenberger & Colletta).

The tale concerns an obsessed multi-millionaire risking everything – including possibly the collapse of civilisation – to uncover exactly what would happen if a man sets foot upon the hidden Island of the Amazons…

One of Wonder Woman’s oldest foes resurfaces in ‘The Day Time Broke Loose!’ (Maggin, Dick Dillin & Colletta) and Green Arrow is caught in the crossfire as the Duke of Deception attacks the UN with temporally torturous images and hallucinations designed to create madness and death on a global scale.

Produced by Martin Pasko & Kurt Schaffenberger, issue #218 offers two short complete tales. Firstly Red Tornado reports on the ‘Revolt of the Wonder Weapons’ as an influential astrologer uses mind-control techniques to gain power and accidentally undermine Diana’s arsenal, after which The Phantom Stranger stealthily witnesses her foil a mystic plot by sorcerer Felix Faust which animates and enrages the Statue of Liberty in ‘Give Her Liberty – and Give Her Death!’

This was a time when feminism was finally making inroads into American culture and Pasko, Swan & Colletta slyly tipped their hats to the burgeoning movement in a wry and fanciful sci-fi thriller. Thus, WW #219 sees Diana preventing a vile incursion by the dominating males of Xro, a ‘World of Enslaved Women!’, with stretchable sleuth Elongated Man covertly traversing the parallel dimensions in Wonder Woman’s wake.

With the epic endeavour almost ended, scripter Pasko added a patina of mystery to the affair as the Atom watches Diana tackle ‘The Man Who Wiped Out Time!’ Illustrated by Dick Giordano, Wonder Woman #220 found temporal bandit Chronos eradicating New York’s ability to discern time and time pieces: a plot foiled with style and brilliance by the on-form, in-time Power Princess.

The only problem was that during that entire exacting episode Hawkman had been simultaneously watching Diana tackle another potential disaster hundreds of miles away…

The Feathered Fury’s report details how Crisis Bureau operative Diana Prince was targeted by Dr. Cyber and Professor Moon – old enemies from her powerless period – who combine a hunger for vengeance with a plan to steal a UN-controlled chemical weapon in ‘The Fiend with the Face of Glass’ (illustrated by Swan & Colletta).

How she could be in two places simultaneously was revealed by Batman, who wraps up the twelve trials in ‘Will the Real Wonder Woman Please… Stand Up Drop Dead!’ (illustrated by Jose Delbo & Blaisdell), detailing how a beloved children’s entertainment icon has been subverted into a monster feeding off people whilst replacing them with perfect duplicates…

With covers by Bob Oksner, Nick Cardy, Mike Grell, Dick Giordano & Ernie Chan, this is a spectacular slice of pure, uncomplicated, all ages superhero action/adventure starring one of comics’ true all stars.

Stuffed with stunning art and witty, beguiling stories, here is Wonder Woman at her most welcoming in a timeless, pivotal classic of the medium: one that still provides astounding amounts of fun and thrills for anyone interested in a grand old time.
© 1974, 1975, 1976, 2012 DC Comics. All Rights Reserved.

Batman: The TV Stories

By Bill Finger, David Vern Reed, France Herron, Dave Wood, Gardner Fox, John Broome, Dick Sprang, Lew Sayre Schwartz, Sheldon Moldoff, Charles Paris, Carmine Infantino, Joe Giella, Sid Greene, Bob Kane & various (DC Comics)
ISBN: 978-1-4012-4495-8 (TPB)

Debuting a year after Superman, “The Bat-Man” (and latterly Robin, the Boy Wonder – who celebrates his 80th anniversary this month) cemented National Comics – AKA DC – as the market and genre leader of the nascent comicbook industry and epitome of swashbuckling derring-do. Batman bloomed at this time and the impetus enabled him to endure and survive the decline of superheroes at the end of the 1940s.

By the end of 1963, Julius Schwartz having – either personally or by example – revived and revitalised DC’s costumed champion line-up – and by extension the entire industry – with his modernization of the superhero, was asked to work his magic with the creatively stalled and nigh-moribund Caped Crusaders.

Bringing his usual team of top-notch creators with him, the editor stripped down the core-concept, downplaying all the ETs, outlandish villains and daft transformation tales that had sustained the no-longer dark knight, bringing a cool modern take to the capture of criminals whilst overseeing a streamlining rationalisation of the art style itself.

The most apparent change to us kids was a yellow circle around the Bat-symbol but, far more importantly, the stories also changed. A subtle aura of genuine menace had crept back in…

At the same time, Hollywood was preparing to produce a television series based on the Caped Crusaders and, through the sheer karmic insanity that permeates the universe, the producers were basing their interpretation upon the addictively daft material the publishers had turned their Editorial backs on, not the “New Look Batman” that was enthralling the readers.

The TV show premiered on January 12th 1966 and ran for 3 seasons (120 episodes in total), airing twice weekly for its first two seasons. It was a monumental world-wide hit and sparked a wave of trendy imitation. The resulting media hysteria and fan frenzy generated an insane amount of Bat-awareness, no end of spin-offs and merchandise – including a still-fabulously watchable movie – while introducing us all to the phenomenon of overkill.

“Batmania” exploded across the world and then as almost as quickly became toxic and vanished. To this day, no matter how much we might squeal and foam about it, or what has occurred since in terms of comics, games or movies, to a huge portion of this planet’s population Batman is always going to be that “Zap! Biff! Pow!” costumed buffoon…

And what’s wrong with that?

Still adored by a large portion of the fans – as evidenced by Batman ’66: a splendid recent series of tales crafted in the style of the show – this collection gathers comics stories spanning 1948 and 1966, which inspired episodes of the TV phenomenon. Available in paperback and digitally, the titanic treats are prefaced by ‘Holy —-! (Choose any word that begins with an “S”)’, an Introduction by Bat-movie producer Michael Uslan, adding context before the wonderment commences with ‘The Riddler’ by Bill Finger, Dick Sprang & Charles Paris.

Detective Comics #140, October 1948 revealed how cheating carnival con-man Edward Nigma took an obsession with puzzles to perilous extremes: becoming a costumed criminal to match wits with the brilliant Batman in a contest that threatened to set the entire city ablaze.

From Batman #53 (June/July 1949), ‘A Hairpin, A Hoe, A Hacksaw, A Hole in the Ground’ came courtesy of Finger, Lew Sayre Schwartz, Bob Kane & Paris, detailing how The Joker resolved to prove to the world that he was the greatest clown in history. His research was a big problem for Gotham…

The Harlequin of Hate played an encore in Batman #73 (October/November 1952 as David Vern Reed, Sprang & Paris’ ‘The Joker’s Utility Belt’ saw the Dynamic Duo temporarily stymied when the crime clown devised his own uniquely perverse iteration of the heroes’ greatest weapon and accessory…

‘The Mad Hatter of Gotham City’ – by Finger, Sheldon Moldoff & Paris – debuted in Detective Comics #230 (April 1956): a chapeau-obsessed collector and thief whose greatest ambition is to possess Batman’s cowl, after which Dave Wood, Moldoff & Paris expose ‘The Ice Crimes of Mr. Zero’ (Batman #121, February 1959), wherein a scientist turns to crime after his experiments afflict him with a condition that will kill him if his temperature rises above freezing point. Although cured in this yarn, the villain would return taking the name Mr. Freeze in later appearances…

Skipping ahead to the Schwartz-era, Batman #169 (February 1965) highlights wily, bird-themed bad-man The Penguin who contrives to make the Caped Crusaders his unwilling ‘Partners in Plunder!’ in a crafty caper conceived by France Herron, Moldoff & Joe Giella, before another archfoe resurfaces in ‘The Remarkable Ruse of the Riddler’ by Gardner Fox, Moldoff & Giella.

After an absence of decades, the Prince of Puzzlers returned to bamboozle Batman (#171, May 1965) in a clever book-length mystery which did much to catapult the previously forgotten villain to the first rank of Bat-Baddies.

His main rival had never really gone away but also got an upgrade in (generally harmless) insanity, as typified by ‘The Joker’s Comedy Capers!’ from Detective Comics #341, July 1965. Here John Broome, Carmine Infantino & Giella revealed how envy apparently inspired the Mountebank of Menace to emulate classic cinema comedians in bold crimes. As usual all was not what it seemed and a killer punchline was waiting for all involved…

Broome, Moldoff & Giella then posed ‘Batman’s Inescapable Doom-Trap’ in Detective Comics #346 (December 1965), highlighting the Caped Crimebuster’s escapology skills as a magician-turned-thief alpha-tests his latest stage-stunt on the unwilling, unwitting hero…

The TV series eventually required a new star to boost ratings: a female hero who would become a mainstay of the comics and who stylishly closes this compilation…

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

‘The Million Dollar Debut of Batgirl’ launched a hip and capable new iteration designed to soar in the Swinging Sixties. DC had plenty of notice of her screen launch and took pains to establish her long before the third season began on September 14th 1967.

Cover-dated January 1967 – so actually on sale at the end of 1966 – Detective Comics #359 left the comicbook premiere to Gardner Fox and art team supreme Infantino & Sid Greene, who produced a ripping yarn introducing mousy librarian Barbara Gordon, daughter of the venerable Police Commissioner, into the superhero limelight. Thus, by the time the show aired, she was already well-established among comics fans at least….

The tale itself reveals how secretly capable Babs (a shy, retiring kung fu expert, dressed in a masquerade bat-costume) accidentally foils the kidnapping of Bruce Wayne by deadly extortionist Killer Moth. Whereas her TV analogue fought the Penguin on the small screen, her print origin features the no less ludicrous but at least visually forbidding super-thug in a clever yarn that still stands up today.

Touted as “the comics that inspired the 1960s TV show!” this is a delicious slice of Fights ‘n’ Tights ephemera, free of angst or excess baggage: a comics rollercoaster packed with fun and adventure for all ages and the ideal remedy for the Lockdown Blues.
© 1948, 1949, 1952, 1956, 1959, 1965, 1967, 2013 DC Comics. All Rights Reserved.

Batman: False Faces


By Brian K. Vaughan with Scott McDaniel, Rick Burchett, Scott Kolins, Marcos Martin & various (DC Comics)
ISBN: 978-1-4012-2228-4 (TPB)

Like most “overnight successes” writer Brian K. Vaughan actually plugged away for those requisite few years before hitting it big with series such as Ex Machina and Y: The Last Man and original works such as the magnificent Pride of Baghdad.

This collection – readily available in digital formats and a just a bit trickier to get in paperback form – purports to be a Batman compendium (better sales potential, I’d imagine) but is in fact a general gathering of (much but not all) DC Universe material by Vaughan in his formative days. Following a mendaciously wry – and potentially litigious – Introduction, the first yarn is a 3-part tale from Batman #588-590 (April-June 2001), illustrated by Scott McDaniel & Karl Story.

The star is the Dark Knight’s underworld alter-ego Matches Malone as ‘Close Before Striking’ offers a very readable psycho-drama revealing the true (and updated) origin of the underworld alias whilst taking readers on a traumatic excursion into the dark side of undercover work. It’s followed by the delightfully dark and whimsical ‘Mimsy Were the Borogoves’ from Detective Comics #787, December 2003. With art from Rick Burchett & John Lowe, this stand-alone story features a deeply demented encounter with The Mad Hatter, and is undoubtedly the best thing in the book…

There’s only a tenuous Batman link in the next tale, which originally saw print as Wonder Woman #160-161 (September & October 2000). Drawn by Scott Kolins with inks from Dan Panosian & Drew Geraci, ‘A Piece of You’ finds shape-changing Bat-villain Clayface attacking the Amazing Amazon when he learns of her origin. Since she was formed from Magic Clay, he reasons that he can absorb her – and her magical abilities – into his own mass. And stone me; he’s right! Action-packed and tongue in cheek, this daft but readable thriller also guest stars former Wonder Girl Donna Troy, Nightwing and Robin.

Somewhat messily, the tome ends with a mere snippet from Batman: Gotham City Secret Files #1 (April 2000) which introduced themed villain The Skeleton, before promptly forgetting all about him. ‘Skullduggery’ is limned by Marcos Martin & Mark Pennington, and although competent, rather lets down a very enjoyable trawl through the Fights ‘n’ Tights work of one of the best writers in comics. If you enjoy superhero tales or are a Vaughan aficionado, please don’t let this slight defect deter you from a great slice of comic book fun.
© 2000, 2001, 2003, 2017 DC Comics. All Rights Reserved.

Legends of the Dark Knight: Jim Aparo volume 3


By Jim Aparo with Bob Haney, Mike W. Barr, Len Wein, Gerry Conway, Denny O’Neil, Cary Burkett, Bill Kelly, Paul Kupperberg, Martin Pasko, Michael Fleisher, Alan Brennert, John Byrne & various (DC Comics)
ISBN: 978-1-4012-7161-9 (HB)

After periods as a historical adventure and try-out vehicle, The Brave and the Bold proceeded to win critical as well as commercial acclaim through team-ups. Pairing regular writer Bob Haney with the best artists available, a succession of DC stars joined forces before the comicbook hit its winning formula.

The winning format – featuring mass-media superstar Batman with other rotating, luminaries of the DC universe in complete stand-alone stories – paid big dividends, especially after the feature finally found a permanent artist to follow a variety of illustrators including Ramona Fradon, Neal Adams, Ross Andru & Mike Esposito, Irv Novick, Nick Cardy, Bob Brown and others…

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 and the slickly versatile Jim Aparo was a perfect match for a drawing brief that could encompass the entire DC pantheon and all of time, space and relative dimensions in any single season…

James N. Aparo (August 24, 1932 – July 19, 2005) was a true quiet giant of comicbooks. Self-taught, he grew up in New Britain Connecticut, and after failing to join EC Comics whilst in his 20s, slipped easily into advertising, newspaper and fashion illustration. Even after finally becoming a comics artist he assiduously maintained his links with his first career.

For most of his career Aparo was a triple-threat, pencilling, inking and lettering his pages. In 1963 he began drawing Ralph Kanna’s newspaper strip Stern Wheeler, and three years later began working on a wide range of features for go-getting visionary editor Dick Giordano at Charlton Comics. Aparo especially shone on the minor company’s licensed big gun The Phantom

When Giordano was lured away to National/DC in 1968 he brought his top stars (primarily Steve Ditko, Steve Skeates and Aparo) with him. Aparo began his lengthy, life-long association with DC illustrating and reinvigorating moribund title Aquaman – although he continued with The Phantom until his duties increased with the addition of numerous short stories for the monolith’s burgeoning horror anthologies and revived 1950s supernatural hero The Phantom Stranger

Aparo went on to become an award-winning mainstay of DC’s artistic arsenal, with stellar runs on The Spectre, The Outsiders and Green Arrow but his star was always linked to Batman’s…

A broadening of Aparo’s brief is celebrated in this third sturdy hardback and/or eBook compilation, which gathers the prestigious lead stories from Detective Comics #444-446, 448, 468-470, 480, 492-499, 501, 502, 508, 509, Batman Family #17, The Brave and the Bold #152, 154-178, 180-182 and Untold Legend of the Batman #1-3 including all pertinent covers – cumulatively spanning January 1975 through January 1982. This fabulous celebration opens sans preamble with the first three chapters of an extended saga from Detective Comics. Written by Len Wein, the ‘Bat-Murderer!’ serial launched in #444, with the “World’s Greatest Detective” perfectly framed for the killing of his occasional lover Talia Al Ghul. Hunted in his own city, Batman’s dilemma worsens in #445 as a ‘Break-in at the Big House!’ draws him deeper into the deadly conspiracy, after incarcerated Ra’s Al Ghul apparently kills himself to further bury the Dark Knight…

Although a desperate fugitive, the Gotham Guardian finds time to solve actual murders and capture another obsessive crazy in #446’s ‘Slaughter in Silver!’ featuring the debut of certified whacko Sterling Silversmith

The Bat-Murderer epic was completed by other artists and is therefore not included here (you can see it in other collections such as Tales of the Batman: Len Wein) but Aparo did limn the last cover – #448 – as well as Detective’s 468, 469 and 470, before his next interior drama surfaced in Batman Family #17 (April/May 1978). Written by Gerry Conway, ‘Scars!’ pits Batman and Robin against a deranged monster literally de-facing beautiful women, before the cover for Detective #480 and B&B #152 refocus attention on Aparo’s team-up triumphs.

Aparo and scripter Bob Haney resumed their epic run of enticing costumed with The Brave and the Bold #152 (July 1979) wherein ‘Death Has a Golden Grab!’ found the Atom helping the Caped Crimecrusher stop a deadly bullion theft. The cover of B&B #153 and 154 follow, as does the contents of the latter, with Element Man Metamorpho treading ‘The Pathway of Doom…’ to save old girlfriend Sapphire Stagg and help Batman disconnect a middle eastern smuggling pipeline…

Mike W. Barr joins Haney in scripting #155’s ‘Fugitive from Two Worlds!’ as Green Lantern clashes with the Dark knight over jurisdiction rights regarding an earth-shaking alien criminal as well as (after the cover to #156) 157’s ‘Time – My Dark Destiny!’ with alternate futurian Kamandi lost in present day Earth and under the sway of ruthless criminals…

Gerry Conway steps in to script a brief reunion with Wonder Woman in #158’s ‘Yesterday Never Dies!’ as memory-warping foe Déjà vu attacks international diplomats whilst Denny O’Neil teams Batman with arch enemy Ra’s Al Ghul to prevent environmental disaster in #159’s ‘The Crystal Armageddon’ Denny O’Neil and Cary Burkett makes ‘The Brimstone Connection’ in #160, working with Supergirl to free kidnap victims and thwart a scheme by devious Colonel Sulphur to steal experimental rocket fuel…

The contents for the next two The Brave and the Bold’s (plus covers for #161-164) depict Conway’s ‘A Tale of Two Heroes!’ – as Batman and star-faring Adam Strange trade locales and murder mysteries and Bill Kelley’s ‘Operation: Time Bomb!’ (with Earth-2’s Batman joining Sgt. Rock to battle Nazi advances and crazed soldier the Iron Major in war-torn France) before a landmark miniseries took up Aparo’s full attention.

Researched and scripted by Len Wein, Untold Legend of the Batman #1-3 originally ran from July-September 1980 and ambitiously rationalised the hero’s entire career into one seamless whole. Interspersed with the covers to Detective #492-494 and B&B #165-167, it begins with ‘In the Beginning’ pencilled by John Byrne with Aparo inking before ‘With Friends Like These…’ and ‘The Man Behind the Mask!’ – with Aparo on full art duties – solves a bizarre mystery that had the Caped Crusader frantically re-examining his past…

Cary Burkett returns in Brave and the Bold #168 (November 1980) to liberate ‘Shackles of the Mind!’ as Green Arrow and Batman unite to save a reformed criminal and skilled escapologist from a maniac’s mind control.

The cover of Detective #496 precedes B&B #169‘Angel of Mercy, Angel of Death!’ (by Barr and cover-dated December 1980) wherein sorceress Zatanna seeks the Dark Knight’s aid for a faith healer who is not what she seems and is followed by the cover for Detective #497 the thrilling cover/contents of B&B #170 wherein Burkett concludes his exceptional thriller series Nemesis with Batman helping the face-shifting superspy to determine ‘If Justice is Blind!’

Covers for Detective #498-499, 501-502 and B&B #171-173 bracket April 1981’s Brave and the Bold #173 and 174 as Conway explains ‘One of Us is not One of Us’ when the almighty Guardians of the Universe recruit Earth’s Dark-knight Detective to determine who is the impostor in their august midst before calling in trusted GL Hal Jordan ‘To Trap an Immortal’

For B&B #175 Paul Kupperbergteams ace reporter Lois Lane with Batman to battle killer cyborg Metallo and determine what drives The Heart of the Monster’, before Martin Pasko steps in for #176, reuniting the Gotham Gangbuster with the terrifying Swamp Thing in convoluted tale of murder and frame-ups ‘The Delta Connection!’

For #177, Barr returns to pose a complex and twisted mystery involving Batman and Elongated Man in ‘The Hangman Club Murders!’, after which rising star Alan Brennert comes aboard for #178. ‘Paperchase’ finds Batman and eerie avenger The Creeper tracking a monstrous shapeshifting killer fuelled by rage and indignation and driving the city into madness.

Michael Fleischer arrived for #180 (November 1980) and took the series into unknown realms as ‘The Scepter of the Dragon God!’ sees Chinese wizard Wa’an-Zen steal enough mystic artefacts to conquer Earth and destroy The Spectre. Foolishly, the mystic has gravely underestimated the skill and bravery of merely mortal Batman…

Bracketed by covers for Detective #508 and 509, B&B #181 features Brennert & Aparo paying tribute to the societally-convulsive Sixties as ‘Time, See What’s Become of Me…’ revisits teen trouble-shooters Hawk and the Dove who have gotten older but no wiser in their passionate defence of the philosophies of robust interventionist action and devout pacifism. When increasingly unstable Hawk accidentally causes the death of a drug-dealers’ son, it triggers an intervention by Batman and a painful reconciliation between the long-divided brothers…

This volume concludes with another moving Brennert bonanza as B&B #182’s ‘Interlude on Earth-2’ finds “our” Batman inexplicably drawn to that parallel world in the aftermath of the death of its own Dark Knight. Confronted by and greatly discomforting grieving Dick GraysonRobin of Earth-2 – and original Batwoman Kathy Kane, the Batman must nevertheless help them defeat resurgent maniac foe Hugo Strange before he can return to his rightful place and time…

These tales are just as fresh and welcoming today, their themes and premises are just as immediate now as then and Jim Aparo’s magnificent art is still as compelling and engrossing as it always was. This is a Bat-book literally everybody can enjoy.

Here 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 one 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 can anybody resist? More importantly: why should you…?
© 1974, 1975, 1977, 1978, 1980, 1981, 1982, 2017 DC Comics. All Rights Reserved.

Showcase Presents Batgirl volume 1


By Gardner Fox, Cary Bates, Mike Friedrich, Robert Kanigher, Frank Robbins, Denny O’Neil, Elliot S. Maggin,Carmine Infantino, Curt Swan, Frank Springer, Mike Sekowsky, Bob Brown, Neal Adams, Gil Kane, Win Mortimer, Irv Novick, Don Heck & various (DC Comics)
ISBN: 978-1-4012-1367-1 (TPB)

Today comics readers are pretty used to the vast battalion of Bat-shaped champions infesting Gotham City and its troubled environs, but for the longest time it was just Bruce, Dick, Alfred – and occasionally their borrowed dog Ace – keeping crime on the run. However, in Detective Comics #233 (July 1956 and three months before the debut of the Flashofficially ushered in the Silver Age of American comicbooks) the editorial powers-that-be introduced heiress Kathy Kane, who sporadically suited-up in chiropteran red-&-yellow for the next eight years.

In Batman #139 (April 1961) her niece Betty started dressing up and acting out as her assistant Batgirl, but when Editor Julie Schwartz took over the Bat-titles in 1964 both ladies unceremoniously disappeared in his root-and-branch overhaul.

In 1966 the Batman TV series took over the planet, but its second season was far less popular and the producers soon saw the commercial sense of adding a glamorous female fighter in the fresh, new tradition of Emma Peel, Honey West and The Girl From U.N.C.L.E., especially when clad in a cute cape, shiny skin-tight body-stocking and go-go boots…

Of course, she had to join the comics cast too, and this Showcase edition re-presents her varied appearances as both guest-star and headliner in her own series, beginning with her four-colour premiere. Hopefully, with the Batwoman TV show now inspiring a new generation of screen-based fans, it won’t be long before the material in this tantalising monochrome tome will be rereleased in in new – full-colour – print and digital editions…

In ‘The Million Dollar Debut of Batgirl’ (Detective Comics #359, January 1967) writer Gardner Fox and art team supreme o Carmine Infantino & Sid Greene introduced young Barbara Gordon, mousy librarian and daughter of the Police Commissioner, so by the time the third season began on September 14, 1967, she was well-established.

In her small screen premiere she pummelled the Penguin, but Batgirl’s comic book origin featured the no-less-ludicrous but at least visually forbidding Killer Moth in a clever, fast-paced yarn involving blackmail and murder that still stands up today and which opens in fine style this massive compilation of the early years of one of the most successful distaff spin-offs in the business.

Her appearances came thick and fast after that initial tale: ‘The True-False Face of Batman’ (Detective #363, by Fox, Infantino & Greene) was a full co-starring vehicle as she was challenged to deduce Batman’s secret identity whilst tracking down enigmatic criminal genius Mr. Brains. Next, BG teamed-up with the Girl of Steel in World’s Finest Comics #169 (September 1967) wherein the independent lasses seemingly worked to replace Batman and Superman in ‘The Supergirl-Batgirl Plot’: a whimsical fantasy feast from Cary Bates, Curt Swan & George Klein.

Detective #369 (Infantino and Greene) somewhat reinforced boyhood prejudices about icky girls in classy thriller ‘Batgirl Breaks Up the Dynamic Duo’ which segued directly into a classic confrontation in Batman #197 as ‘Catwoman sets Her Claws for Batman!’ (Fox, Frank Springer & Greene). This frankly daft tale is most fondly remembered for a classic cover of Batgirl and whip-wielding Catwoman squaring off over Batman’s prone body – proving that comic fans have a psychopathology uniquely their very own…

Gil Kane made his debut on the Dominoed Daredoll (did they really call her that? – yes they did, from page 2 onwards!) in Detective #371’s ‘Batgirl’s Costumed Cut-ups’: a masterpiece of comic-art dynamism that inker Sid Greene could be proud of, but which proffered some rather uncomfortable assertions about female vanity that Gardner Fox probably preferred to forget – and just check out the cover of this book if you think I’m kidding.

Batgirl next surfaced in Justice League of America #60 (February 1968), wherein the team barely survive a return match with alien invader Queen Bee and are temporarily transformed into ‘Winged Warriors of the Immortal Queen!’ (Fox, Mike Sekowsky & Greene), after which in the June-July The Brave and the Bold (#78) Bob Brown stepped in to draw her for Bob Haney’s eccentric crime-thriller ‘In the Coils of the Copperhead’ wherein Wonder Woman vied with the fresh young thing for Batman’s affections. Of course, it was all a cunning plan… at first…

That same month another team-up with Supergirl heralded a sea-change in DC’s tone, style and content as the girls were dragged into ‘The Superman-Batman Split!’ (World’s Finest Comics #176) with Bates providing a far darker mystery for the girls and boys (including Robin and Jimmy Olsen) to solve. With this yarn artists Neal Adams & Dick Giordano began revolutionising how comics looked with their moody, exciting hyper-realistic renderings…

Although Barbara Gordon continued to crop up in the background of occasional Batman adventures, that was the last time the masked heroine was seen until Detective Comics #384, (February 1969) when Batgirl was finally awarded her own solo feature. Written by Mike Friedrich and illustrated by the phenomenal team of Gil Kane & Murphy Anderson, ‘Tall, Dark. Handsome …and Missing!’ began an engaging run of human-scaled crime dramas with what all the (male) scripters clearly believed was a strong female slant, as seen in this yarn wherein librarian Babs develops a crush on a frequent borrower just before he inexplicably vanishes.

Batgirl investigates and runs into a pack of brutal thugs before solving the mystery in the second chapter ‘Hunt for the Helpless Hostage!’ (Detective #385), after which the lead story from that issue rather inexplicably follows here.

‘Die Small… Die Big!’ by Robert Kanigher, Bob Brown & Joe Giella is one of the best Batman adventures of the period, with a nameless nonentity sacrificing everything for a man he’s never met, but Babs is only in three panels and never as Batgirl…

Adventure Comics #381 (June 1969) made far better use of her as she goes undercover and is largely at odds with the Maid of Steel whilst exposing ‘The Supergirl Gang’ in a tense thriller by Bates & Win Mortimer. Batgirl shared alternating adventures in Detective back-up slot with Robin, so she next appeared in#388 which also welcomed newspaper strip star Frank Robbins to script ‘Surprise! This’ll Kill You!’: a sophisticated bait-and-switch caper which sees Batgirl impersonate herself and almost pay with her life for another girl’s crimes. Spectacularly illustrated by Kane & Anderson, the strip expanded from eight to ten pages, but that still wasn’t enough and the breathtaking thrills spill over into a dramatic conclusion in ‘Batgirl’s Bag of Tricks!

Although tone and times were changing, there was still potential to be daft and parochial too, as seen in ‘Batman’s Marriage Trap!’ (Batman #214, by Robbins, Irv Novick & Giella) wherein a wicked Femme Fatale sets the unfulfilled spinsters of America on the trail of Gotham’s Most Eligible Bat-chelor (see what I did there? I’ve done it before too and you can’t stop me…).

Not even a singular guest-shot by positive role-model Batgirl can redeem this peculiar throwback – although the art rather does…

From Detective #392, October 1969 and by Robbins, Kane & Anderson, ‘A Clue… Seven-Foot Tall!’ is another savvy contemporary crime-saga which introduces a new Bat cast-member in the form of disabled Vietnam veteran and neophyte private eye Jason Bard (who would eventually inherit Batgirl’s spot in Detective Comics). Here and in the concluding ‘Downfall of a Goliath’ Babs and Bard spar before joining forces to solve a brutal murder in the world of professional basketball.

Issues #396 & 397 (February and March 1970) see Batgirl face the very modern menace of what we’d now call a psychosexual serial killer in chilling, enthralling mystery ‘The Orchid-Crusher’ and ‘The Hollow Man’: a clear proof of the second-string character’s true and still untapped potential…

The anniversary Detective #400 (June 1970) finally teamed her with Robin in ‘A Burial For Batgirl!’(Denny O’Neil, Kane & Vince Colletta) a college-based murder mystery referencing political and social unrest then plaguing US campuses, but which still finds space to be smart and action-packed as well as topical before its chillingly satisfactory conclusion ‘Midnight is the Dying Hour!’ (Detective #401).

With issue #404, Babs became the sole back-up star as Robbins, Kane & Frank Giacoia sampled the underground movie scene with ‘Midnight Doom-Boy’, mischievously spoofing Andy Warhol’s infamous Factory studio in another intriguing murder-plot, diverting to and culminating in another branch of Pop Art as Batgirl nearly becomes ‘The Living Statue!’

In ‘The Explosive Circle!’ (#406, with Colletta inking) the topic du jour is gentrification, as property speculation rips Gotham apart, but not as much as a gang of radical bombers, leading to the cry ‘One of Our Landmarks is Missing!’ The next issue (#408) saw the vastly underrated Don Heck take over as artist, inked here by Dick Giordano on ‘The Phantom Bullfighter!’ wherein a work-trip to Madrid embroils Batgirl in a contentious dispute between matadors old and new, leading to a murderous ‘Night of the Sharp Horns!’

Inevitably, fashion reared its stylish head in a strip with a female lead, but Robbins’ wickedly clever ‘Battle of the Three “M’s”’ (that’s Mini, Midi and Maxi to you) proved to be one of the most compelling and clever tales of the entire run as a trendsetting celebrity finds herself targeted by an unscrupulous designer, leading to a murderous deathtrap for Babs in ‘Cut… and Run!’

Clearly inspired, Robbins stayed with girlish things for ‘The Head-Splitters!’ (Detective #412) and Heck, now inking himself, rose to the occasion for a truly creepy saga about hairdressing that features one of the nastiest scams and murder methods I’ve ever seen, ending in a climactic ‘Squeeze-Play!’

Babs reunites with Jason Bard for an anniversary date only to stumble onto an ‘Invitation to Murder!’ (another celebrity homage; this time to Richard Burton and Elizabeth Taylor) – a classy fair-play mystery resolved in ‘Death Shares the Spotlight!’

When a cop-killing tears apart the city, Babs’ father Commissioner Jim Gordon takes it badly in ‘The Deadly Go-Between!’, but militant radicals aren’t the only threat as seen in concluding episode ‘A Bullet For Gordon!’: heralding a far greater role for the once-anodyne authority figure and leading to his integral role in today’s Bat-universe.

Robbins & Heck also revealed a shocking secret about the Commissioner that would build through the remaining Batgirl adventures, beginning with ‘The Kingpin is Dead!’, concerning a “motiveless” hit on an old gang-boss all cleared up in spectacular fashion with ‘Long Live the Kingpin!’ in #419.

‘Target for Mañana!’ has Babs and her dad travel to Mexico on a narcotics fact-finding mission only to fall foul of a sinister plot in ‘Up Against Three Walls!’, before the series took a landmark turn in ‘The Unmasking of Batgirl’ as a charmer breaks her heart and Babs decides to chuck it all in and run for Congress in ‘Candidate For Danger!’

Detective Comics #424 (June 1972) features ‘Batgirl’s Last Case’ as “Battlin’ Babs” overturns a corrupt political machine and shuffles off to DC, leaving Jason to manage on his own…

That wasn’t quite the end of her first run of adventures. Superman #268 (October 1973) found her battling spies in the Capitol beside the Man of Steel in ‘Wild Week-End in Washington!’, courtesy of Elliot S. Maggin, Swan & Bob Oksner before repeating the experience a year later in ‘Menace of the Energy-Blackmailers!’ (Superman #279, by Maggin, Swan & Phil Zupa.

This eclectic but highly entertaining compendium concludes with one last Supergirl team-up, this time by Maggin Swan & Colletta from Superman Family #171 (June/July 1975), wherein a distant descendent of the Empress of the Nile uses magic to become ‘Cleopatra, Queen of America’, overwhelming even Superman and the Justice League before our Cape and Cowl champs finally lower the boom…

Batgirl’s early exploits come from and indeed partially shaped an era where women in popular fiction were finally emerging from the marriage-obsessed, ankle-twisting, deferential, fainting hostage-fodder mode that had been their ignoble lot in all media for untold decades. Feminism wasn’t a dirty word or a joke then for the generation of girls who at last got some independent and effective role-models with (metaphorically, at least) balls.

Complex yet uncomplicated, the adventures of Batgirl grew beyond their crassly commercial origins to make a real difference. However, these tales are not only significant but drenched in charm and wit; drawn with a gloriously captivating style and panache that still delights and enthrals. This is no girly comic but a full-on thrill ride you can’t afford to ignore and which deserves to be revived with all the bells, whistles and respect the characters and stories rightfully command…
© 1967-1975, 2007 DC Comics. All Rights Reserved.

Catwoman: Nine Lives of a Feline Fatale


By Bill Finger, Bob Kane, Edmond Hamilton, Leo Dorfman, Gardner Fox, Frank Robbins, Doug Moench, Ed Brubaker, Frank Springer, Lew Sayer Schwartz, Kurt Schaffenberger, Irv Novick, Tom Mandrake, Michael Avon Oeming (DC Comics)
ISBN: 978-1-4012-0213-2 (TPB)

It feels odd to plug a book that is so obviously a quick and cheap cash-cow tie-in to a movie (and a bad movie, at that), but this Catwoman volume from 2004 has a great deal to recommend it. For a start it is quaintly cheap ‘n’ cheerful. The references to the film are kept to an absolute minimum. The selection of reprints, purporting to signify nine distinct takes on the venerable femme fatale are well considered in terms of what the reader hasn’t seen as opposed to what they have. There are also some rare and stunning art pieces selected as chapter heads, too, from the likes of George Perez, Dave Stevens, Alan Davis and Bruce Timm.

The stories themselves vary in quality by modern standards, but serve as an intriguing indicator of taste in the manner of a time capsule or introductory Primer. Track the feline fury from her first appearance as mysterious thief ‘The Cat’ (by Bill Finger, Bob Kane & Jerry Robinson: Batman #1 1940), through ‘The Crimes of the Catwoman’ (Edmond Hamilton, Kane/Lew Sayer Schwartz & Charles Paris: Detective #203 1954), to the wonderfully absurdist cat fight with Superman’s Girl Friend Lois Lane (#70-71: 1966), as described by Leo Dorfman & Kurt Schaffenberger in ‘The Catwoman’s Black Magic’ and ‘Bad Luck for a Black Super-Cat!’

A victim of 1960’s TV “Batmania”, ‘Catwoman Sets Her Claws for Batman’ sees her battle Batgirl in a cringingly painful outing from Batman #197, by 1967 by Gardner Fox, Frank Springer & Sid Greene) but at least it can be regarded as the nadir of her decline from sexy object of pursuit to imbecilic Twinkie. From here it’s onwards and upwards again…

In the nonsensical ‘The Case of the Purr-Loined Pearl’ (Batman #210, 1969), Frank Robbins, Irv Novick & Joe Giella slowly (and oh, so terribly gradually) begin her return to major villain status, after which Doug Moench, Tom Mandrake & Jan Duursema devise ‘A Town on the Night’ (Batman #392, 1986), showing one of her innumerable romantic excursions onto the right side of the law before ‘Object Relations’ (Catwoman #54 1998), shows us a ghastly but brief “Bad-Grrrl” version of the glamorous super-thief.

Mercifully, we then get to the absolutely enthralling ‘Claws’ (Batman: Gotham Adventures #4 1998, by Ty Templeton, Rich Burchett& Terry Beatty), produced in the spin-off comic based on the television cartoon but probably the best piece of pure comic book escapism in the whole package. The volume closes with another revision of her origin ‘The Many Lives of Selina Kyle’ (Catwoman Secret Files#1 2002), by Ed Brubaker, Michael Avon Oeming & Mike Manley.

Catwoman is a timeless icon and one of the few female comic characters that the entire real world has actually heard of, so it’s great that the whole deal is such a light, frothy outing, as well as having some rarity appeal for dedicated fans. Go get her, Tiger!
© 1940-1955, 1956-2002, 2004 DC Comics. All Rights Reserved.

Showcase Presents Green Arrow


By EdFrance” Herron, Jack Miller, Dave Wood, Robert Bernstein, Jerry Coleman, Bob Haney, Gardner Fox, John Broome, George Kashdan, Bill Finger, Jack Kirby, George Papp, Lee Elias, George Roussos, Mike Sekowsky, Neal Adams & various (DC Comics)

ISBN: 978-1-4012-0785-4 (TPB)

DC Comics have, over their decades of existence, published an incalculable volume of absolutely wonderful comics tales in a variety of genres and addressing a wide variety of age ranges and tastes.

Sadly, unlike their rival Marvel, these days they seem content to let most of it languish beyond the reach of fans – both devout and vintage or fresh potential new adherents. As a new decade – possibly or last – unfolds I’ll be continuing my one-person campaign to remind them and inform you that – like The Truth – the Fiction is also Out There… even if only still available in older collections…

Green Arrow is one of DC’s Golden All-Stars: a fixture of the company’s landscape (in many instances for no discernible reason) more or less continually since his debut in 1941. He was originally created by Mort Weisinger and George Papp for More Fun Comics # 73 as an attempt to expand the company’s superhero portfolio, and in the early years proved quite successful. The bowman and boy partner Speedy were two of the few costumed heroes to survive the end of the Golden Age.

His blatantly opportunistic recombination of Batman and Robin Hood seemed to have very little going for itself but the Emerald Archer has somehow always managed to keep himself in vogue. He and sidekick Speedy were part of the 1940s Seven Soldiers of Victory, carried on adventuring in the back of other heroes’ comicbooks and joined the Justice League of America at the peak of their fame before evolving into the spokes-hero of the anti-establishment generation during the 1960’s “Relevancy Comics” trend, courtesy of Denny O’Neil & Neal Adams.

Under Mike Grell’s stewardship and thanks to breakthrough miniseries Green Arrow: the Longbow Hunters (DC’s second Prestige Format Limited Series after the groundbreaking success of Frank Miller’s Batman: The Dark Knight Returns), the battling bowman at last became a headliner: an urban predator dealing with corporate thugs and serial killers rather than costumed goof-balls.

After his long career and a few venue changes, by the late1950s and Julie Schwartz’s revivification of the Superhero genre, the Emerald Archer was a solid second feature in both Adventure and World’s Finest Comics. As part of the wave of retcons, reworkings and spruce-ups the company administered to all their remaining costumed old soldiers, he enjoyed a fresh start beginning in the summer of 1958…

This splendidly eclectic collection of the peripatetic champion’s perennial second-string exploits gathers pertinent material from Adventure Comics #250-269, World’s Finest Comics #95-140, Justice League of America #4 and his guest-shots in Brave and the Bold #50, 71 and 85; covering the period July 1958 to September 1969.

Part of that revival happily coincided with the first return to National Comics of Jack Kirby after the collapse of Mainline: the comics company he and partner Joe Simon had created as part of the Crestwood/Prize publishing combine (which foundered when the industry was hit by the Comics Code censorship controversy and a sales downturn that hit many creators very, very hard)…

Delivered in stark and  stunning monochrome, the on-target tales start with ‘The Green Arrows of the World’ (by scripter Dave Wood and Jack, with wife Roz Kirby inking) wherein heroic masked archers from many nations attended a conference in Star City, unaware that a fugitive criminal is lurking within their midst, whilst that same month George Papp illustrated the anonymously scripted ‘Green Arrow vs Red Dart’ in World’s Finest Comics #95: a dashing tale of the Ace Archer’s potential criminal counterpart and his inevitable downfall.

Adventure #251 took a welcome turn to fantastic science fiction as Ed Herron & the Kirbys resolved ‘The Case of the Super-Arrows’ wherein GA and Speedy take possession of high-tech trick shafts from 3000AD, whilst WFC #96 (writer unknown) reveals ‘Five Clues to Danger’ – a classic kidnap mystery made even more impressive by Kirby’s lean, raw illustration.

A rare continued case spanned Adventure’s #252 and 253 as Wood, Jack & Roz expose ‘The Mystery of the Giant Arrows’, before the Amazing Archers temporarily become ‘Prisoners of Dimension Zero’ – a spectacular riot of giant aliens and incredible exotic otherworlds. Back to Earth, it’s followed in WF #97 with a grand old-school crime-caper in Herron’s ‘The Mystery of the Mechanical Octopus’.

Kirby was going from strength to strength and Adventure #254’s ‘The Green Arrow’s Last Stand’, written by Wood, is a particularly fine example as the Bold Bowmen crash into a hidden valley where Sioux braves thrive unchanged since the time of Custer, before the next issue sees them battle a battalion of Japanese soldiers who refused to surrender their island bunker in ‘The War That Never Ended’ (also scripted by Wood).

World’s Finest #98 almost ended the heroes’ careers in Herron’s ‘The Unmasked Archers’, wherein a practical joke causes the pair to expose themselves to public scrutiny and deadly danger…

In those heady days, origins weren’t as important as imaginative situations, storytelling and just plain getting on with it, so co-creators Weisinger & Papp never bothered to provide one, leaving later workmen Herron, Jack & Roz (in Kirby’s penultimate tale before devoting all his energies to his fabulous but doomed newspaper strip Sky Masters) to fill in the blanks with ‘The Green Arrow’s First Case’ just as the Silver Age superhero revival hit its stride in Adventure Comics#256 (January 1959).

Here we learned how wealthy wastrel Oliver Queen was cast away on a deserted island and learned to use a hand-made bow simply to survive. When a band of scurvy mutineers fetched up on his desolate shores Queen used his newfound skills to defeat them and returned to civilisation with a new career and secret purpose…

Adventure #257’s ‘The Arrows That Failed’ finds a criminal mastermind tampering with the archer’s equipment in a low-key but intriguing yarn by an unknown scripter, most memorable for being the first artistic outing for Golden Age great Lee Elias. He would become the character’s sole illustrator until its demise following Kirby’s spectacular swan-song in WF #99. ‘Crimes Under Glass’ was written by Robert Bernstein and found GA and Speedy battling cunning criminals with a canny clutch of optical armaments.

Adventure Comics #258 (March 1959) offered a rare cover appearance for the Emerald Archer since he guest-starred in lead feature ‘Superboy Meets the Young Green Arrow’ (by Jerry Coleman & Papp), after which inspiring boyhood on-the-job training the mature bowman then schooled a lost patrol of soldiers in toxophily (that’s posh talk for archery, folks), desert survival and crime-busting in ‘The Arrow Platoon’: another anonymously scripted yarn limned by Elias.

The same month in WF #100 the Emerald Avenger faced light-hearted lampoonery and sinister larcenists in ‘The Case of the Green Error Clown’ by Herron and the now-firmly entrenched Elias, whilst Adventure #259 showed that ‘The Green Arrow’s Mystery Pupil’ had ulterior and sinister motives for his studies whilst #260 revealed ‘Green Arrow’s New Partner’ to be only a passing worry for Speedy in a clever drama by Bernstein.

World’s Finest #101 introduced a crook who bought or stole outlandish ideas for malevolent purposes in ‘The Battle of the Useless Inventions’ (Herron), whereas Adventure #261 and the uncredited fable ‘The Curse of the Wizard’s Arrow!’employs bad luck and spurious sorcery to test the Archers’ ingenuity.

WF #102 provided Herron’s snazzy crime-caper ‘The Case of the Camouflage King!’ whilst in Adventure #262 ‘The World’s Worst Archer!’ (Bernstein) finally gives Boy Bowman Speedy an origin of his own; detailing just how close part-Native American boy Roy Harper came to not being adopted by Oliver Queen. Next month #263 boasted ‘Have Arrow – Will Travel’ (Bernstein) showing the independent lad selling his skills to buy a boat… a solid lesson in enterprise, thrift and good parenting, if not reference-checking….

World’s Finest #103 offered Bob Haney mystery-thriller ‘Challenge of the Phantom Bandit’ after which an anonymous scripter finally bows to the obvious and dispatches the Emerald Archer to feudal Sherwood Forest in ‘The Green Arrow Robin Hood’ (Adventure #264, September 1959) before WF #104 sees GA undercover on a modern Native American Reservation in Herron & Elias’ ‘Alias Chief Magic Bow’.

‘The Amateur Arrows!’ (by Bernstein from Adventure #265) has the Battling Bowmen act as Summer Camp tutors on a perilously perfidious Dude Ranch for kids, #266 again sees their trick-shot kit malfunction in a clever conundrum with a surprise mystery guest-star in Bernstein’s ‘The Case of the Vanished Arrows!’ and WF #105 introduces deceptively deadly toy-making terror ‘The Mighty Mr. Miniature’ (Herron).

In Adventure Comics #267 the editors tried another novel experiment in closer continuity. At this time the title starred Superboy with two back-up features following. The first of these starred equally perennial B-list survivor Aquaman who in ‘The Manhunt on Land’ (not included) discovers villainous Shark Norton has traded territories with Green Arrow’s foe The Wizard. In a rare crossover, both parts of which were written by Bernstein, the heroes worked the same case with Aquaman fighting on dry land whilst the Emerald Archer pursued his enemy beneath the waves in his impressively innovative strip ‘The Underwater Archers’

‘The Crimes of the Pneumatic Man’ (Herron, WF #106) debuts a rather daft balloon-based bandit, whilst Adventure#268 covers another time-trip in ‘The Green Arrow in King Arthur’s Court!’ by Bernstein. He also scripted February 1960’s #269 wherein ‘The Comic Book Archer!’ sees the pair aid a cartoonist in need of inspiration and salvation.

That was the hero’s last appearance in Adventure. From then on the Amazing Archers’ only home was World’s Finest Comics, beginning a lengthy and enthralling run from Herron & Elias spanning #107-112 and  systematically defeating ‘The Menace of the Mole Men’ – who weren’t what they seemed – and ‘The Creature from the Crater’ – which also wasn’t – before becoming ‘Prisoners of the Giant Bubble’: a clever crime caper loaded with action.

WF #110 introduced photonic pillage ‘The Sinister Spectrum Man’ with a far more memorable menace challenging the heroes in ‘The Crimes of the Clock King’ before a lucky felon stumbles upon their hidden lair and becomes ‘The Spy in the Arrow-Cave’: a tale which starts weakly but ends on a powerfully poignant high note…

In WF #113 the painfully parochial and patronising tone of the times seeped into the saga of ‘The Amazing Miss Arrowette’ (scripted by Wood) as a hopeful, ambitious Ladies’ Archery competitor tries her very best to become Green Arrow’s main helpmeet. Moreover, in a series famed for absurd gimmick shafts, nothing ever came close to surpassing the Hair-Pin, Needle-and-Thread, Powder-Puff or Lotion Arrows in Bonnie King’s fetching and stylish little quiver…

The times were changing in other aspects however, and fantasy elements were again popular at the end of 1960, as evidenced by Herron’s teaser in WF #114. ‘Green Arrow’s Alien Ally’ neatly segued into ‘The Mighty Arrow Army’ as the Ace Archers battle a South American dictator and then encounter a sharp-shooting circus chimp in #116’s ‘The Ape Archer’.

A big jump to the majors occurred in Justice League of America #4 (April 1961) when Green Arrow is invited to join the world’s Greatest Super-Heroes just in time to save them all – and the Earth for good measure in Gardner Fox, Mike Sekowsky & Bernard Sachs’ epic sci fi extravaganza ‘Doom of the Star Diamond’.

The Emerald Bowman returned to quirkiness and mere crime-crushing in WF #117’s‘The Cartoon Archer’ (Wood & Elias) wherein a kidnapped cartoonist uses caricature as a deadly weapon and desperate plea for help…

World’s Finest #118 featured ‘The Return of Miss Arrowette’ (Wood): far less cringeworthy than her debut but still managing to make the Bow Babe both competent and imbecilic at the same time, before Herron penned ‘The Man with the Magic Bow’ in #119, with an actual sorcerous antique falling into the greedy hands of a career criminal, after which Oliver Queen and Roy Harper become victims of ‘The Deadly Trophy Hunt’ in #120 and need a little Arrow action to save the day and their secret identities.

Master scribe John Broome provides a tautly impressive tale of despair and redemption in #121 with ‘The Cop Who Lost his Nerve’ and WF #122 sees ‘The Booby-Trap Bandits’ (Haney) almost destroy our heroes in a tense suspense thriller, whilst Wood wrote one of his very best GA yarns in #123’s ‘The Man Who Foretold Disaster’.

Herron rose to the challenge in WF #124-125 with a brace of bold and grittily terse mini-epics beginning with breathtaking gang-busting yarn ‘The Case of the Crime Specialists’; following up with tense human drama ‘The Man Who Defied Death’ as a doting dad puts his life on the line to pay his son’s medical bills…

‘Dupe of the Decoy Bandits’ by Wood in #126 is another sharp game of cops-&-robbers and George Kashdan reveals the heart-warming identity of ‘Green Arrow’s Secret Partner’ in #127 after which Wood successfully tries his hand at human-scaled melodrama with a retiring cop proving himself ‘The Too-Old Hero’ in #128.

Oddly – perhaps typically – just as the quality of Green Arrow’s adventures steadily improved, his days as a solo star were finally ending. Herron scripted all but one of the remaining year’s World’s Finest exploits, beginning with #129’s robotic renegade ‘The Iron Archer’, after which an author unknown contributed ‘The Human Sharks’ as the heroes returned to battling crime beneath the seas.

A despondent boy is boosted out of a dire depression by joining his idols in #131’s ‘A Cure for Billy Jones’ whilst ‘The Green Arrow Dummy’ is an identity-saver and unexpected crook catcher in its own right.

Subterranean thugs accidentally invade and become ‘The Thing in the Arrowcave’ in #133, before ‘The Mystery of the Missing Inventors’ sees a final appearance and decent treatment of Arrowette, but the writing was on the wall. Green Arrow became an alternating feature and didn’t work again until WF #136 and the exotic mystery of ‘The Magician Boss of the Incas’ (September 1963).

A month later Brave and the Bold #50 saw the Ace Archer team-up in a book-length romp with the Martian Manhunter. ‘Wanted – the Capsule Master!’ pits the newly-minted Green Team in a furious foray against marauding extraterrestrial menace Vulkor; a fast-paced thriller by Haney & George Roussos followed by WF #138’s ‘The Secret Face of Funny-Arrow!’ wherein a formerly positive and good natured spoof-performer takes a sudden turn into darker and nastier “jokes” whilst World’s Finest #140 (March 1964) aptly presents ‘The Land of No Return’ by Bill Finger, with the Battling Bowmen falling into a time-locked limbo where heroes from history perpetually strive against deadly beasts and monsters…

The decades-long careers ended there and they became nothing more than bit-players in JLA and Teen Titans exploits until Brave and the Bold #71 (April-May 1967, by Haney and drawn by his Golden Age co-creator George Papp), wherein Green Arrow helps Batman survive ‘The Wrath of the Thunderbird!’: crushing a criminal entrepreneur determined to take over the wealth and resources of the Kijowa Indian Nation.

This volume ends with the first cathartic and thoroughly modern re-imagining of the character, paving the way for the rebellious, riotous, passionately socially-aware avenger of modern times.

Brave and the Bold #85 is arguably the best of an incredible run of team-ups in that title’s prestigious history and certainly the best yarn in this collection. ‘The Senator’s Been Shot!’ reunites Batman and Green Arrow in a superb multi-layered thriller of politics, corruption and cast-iron integrity, wherein Bruce Wayne becomes a stand-in for a law-maker and the Emerald Archer gets a radical make-over, making him a fiery liberal gadfly champion of the relevancy generation – and every one since.

Ranging from calamitously repetitive and formulaic – but in a very good and entertaining way – to moments of sublime wonder and excitement, this is genuine mixed bag of Fights ‘n’ Tights swashbuckling with something for everyone and certainly bound to annoy as much as delight. All ages superhero action that’s unmissable. Even if you won’t love it all you’ll hate yourself for missing this spot-on selection.
© 1958-1964, 1967, 1969, 2006 DC Comics. All Rights Reserved.