Scooby-Doo! Team-Up volume 1


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

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

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

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

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

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

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

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

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

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

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

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

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

Showcase Presents Enemy Ace


By Robert Kanigher, Joe Kubert, Dennis O’Neil, John Severin, Howard Chaykin, Frank Thorne, Ed Davis, Russ Heath, Neal Adams & various (DC Comics)
ISBN: 978-1-4012-1721-1 (TPB)

Same old story here. Brilliant, groundbreaking, unmissable, not available in any modern format or digitally. We never learn…

Enemy Ace first appeared as a back-up in DC’s flagship war comic Our Army at War: home of the instantly legendary Sergeant Rock. The tales, loosely based on “Red Baron” Manfred von Richthofen, were a magnificent and thought-provoking examination of and tribute to the profession of soldiering, whilst simultaneously condemning the madness of war. They were produced by the dream team of Robert Kanigher & Joe Kubert during a period when the ongoing Vietnam conflict was beginning to tear American society apart.

An immediate if seminal hit, the series told bitter tales of valour and honour from the point of view of German WWI fighter pilot Hans von Hammer: a hidebound but noble warrior fighting for his country in a conflict that was swiftly excising all trace of such outmoded concepts from the business of government sanctioned mass-killing.

Robert Kanigher (1915-2002) was one of the most distinctive authorial voices in American comics, blending rugged realism with fantastic fantasy in his signature war comics, as well as in horror stories, westerns and superhero titles such as Wonder Woman, Teen Titans, Hawkman, Metal Men, Batman plus other genres too numerous to cover here. A restlessly creative writer, he frequently used his uncanny but formulaic adventure arenas as a testing ground for future series concepts. Among the many epochal war features he created were Sgt. Rock, The War that Time Forgot, The Haunted Tank, The Losers and the controversial star of this stupendously compelling war-journal.

He sold his first stories and poetry in 1932, wrote for the theatre, film and radio, and joined the Fox Features shop where he created The Bouncer, Steel Sterling and The Web, whilst providing scripts for Blue Beetle and the original Captain Marvel.

In 1945 he settled at All-American Comics as both writer and editor, staying on when the company amalgamated with National Comics to become the forerunner of today’s DC. He wrote Flash and Hawkman, created Black Canary and many sexily memorable villainesses such as Harlequin and Rose and the Thorn. This last turbulent temptress he redesigned during the relevancy era of the early 1970s into a schizophrenic crime-busting vigilante who haunted the back of Superman’s Girlfriend Lois Lane, which Kanigher also scripted.

When the taste for mystery-men had faded at the end of the 1940s, Kanigher moved seamlessly into adventure yarns, westerns and war: becoming in 1952 writer/editor of the company’s combat titles.

As well as scripting for All-American War Stories, Star Spangled War Stories and Our Army at War, he created Our Fighting Forces in 1954 before adding G.I. Combat to his burgeoning portfolio when Quality Comics sold their line of titles to DC in 1956. This was whilst still working on Wonder Woman, Johnny Thunder, Rex the Wonder Dog, Silent Knight, Viking Prince and a host of others.

In 1956 he scripted ‘Mystery of the Human Thunderbolt’ – the first story of the Silver Age which introduced Barry Allenas the new Flash to the hero-hungry kids of the world. Drawn by Carmine Infantino, the risky experiment included multi-talented veteran Joe Kubert as inker for the crucially important debut issue…

Kubert was born in 1926 in rural Southeast Poland (which became Ukraine and might be Outer Russia by the time you read this). At age two his parents took him to America and he grew up in Brooklyn.

His folks encouraged Joe to draw from an early age and the precocious kid began a glittering career at the start of the Golden Age, before he was even a teenager. Working and learning at the Chesler comics packaging “Shop”, MLJ, Holyoke and assorted other outfits, he began his close association with National/DC in 1943, whilst still dividing his time and energies between Fiction House, Avon, Harvey and All-American Comics, where he particularly distinguished himself on The Flash and Hawkman.

In the early 1950s he and old school chum Norman Maurer were the creative force behind publishers St. Johns: creating evergreen caveman Tor and launching the 3D comics craze with Three Dimension Comics.

Joe never stopped freelancing, appearing in EC’s Two-Fisted Tales, Avon’s Strange Worlds, Lev Gleason Publications & Atlas Comics until in 1955 when, with the industry imploding, he took a permanent position at DC, only slightly diluted whilst he illustrated the contentious and controversial newspaper strip Tales of the Green Berets from 1965 to 1968.

An elder statesman of the industry, he was creating new works and passing on knowledge and experience through his world-famous Joe Kubert School until his death in August 2012.

This terrific monochrome tome re-presents the blockbusting exploits of Von Hammer from Our Army at War #151, 153, 155, Showcase #57-58, Star Spangled War Stories #138 -145, 147-150, 152, 158, 181-183, 200, Men of War #1-3, 8-10, 12-14, 19-20, The Unknown Soldier #251-253, 260-261, 265-267 plus an intriguing tribute from Detective Comics#404: a period spanning February 1965 to August 1982. The canon encompasses a period during which superheroes were supplanted by horror stories before bouncing right back again, whereas the genre of combat chronicles soldiered on regardless and largely unbothered by vagaries of reader fashion.

To be brutally frank, the stories are variations on the same theme and, despite being illustrated by many of the greatest artists of two generations, might feel a little samey. If so, just stop every now and then to cogitate a little. This isn’t a book to blaze through; it’s one to savour in sensible portions…

It all kicked off in the back of Our Army at War #151 (cover-dated February 1965), introducing the ‘Enemy Ace’ in a short, sharp shocker set in 1918 wherein celebrated aerial warrior Rittmeister von Hammer was hospitalised after downing a succession of Allied aircraft. The reserved stoic hero was simultaneously admired by comrades and nurses whilst being shunned and feared by them: they all inevitably came to characterise Germany’s greatest hero as cold and a “human killing machine”…

Von Hammer took recuperative solace in hunting the wilds of the Schwartzwald, where he met a solitary black wolf who seemed to understand and share his lonely life of death and honour…

When his wounds were fully healed the dark knight returned to prowl once more “the Killer Skies”…

That 15-page yarn perfectly defined everything that could be said about the character, but the public could not get enough, so Von Hammer returned in #153 as ‘Flaming Bait!’ Dialled back to 1917 now (scripter Kanigher was never slavishly tied to tight or formal continuity), the cautionary tale featured the superstitious Rittmeister’s attempts to offset a wave of deaths which occurred each time a photographer took a pilot’s picture…

Our Army at War #155 (June 1965) featured ‘Fokker Fury!’, wherein the fanatically fair and scrupulous air ace accidentally shoots down an unarmed British fighter. After some excoriating self-castigation, Von Hammer reclaims his honour in a valiant display of mad bravado…

Mere months later, he starred in a brace of full-length thrillers for prestigious try-out vehicle Showcase. Issue #57 (July/August 1965) offered ‘Killer of the Skies!’: recapitulating all that had gone before whilst introducing a potential equal in the form of Canadian ace “The Hunter”.

A new wrinkle had also been added to the mix as Von Hammer now perpetually agonised and bemoaned his inability to save the human conveyor belt of naive, foolish replacement pilots to his Jagdstaffel from killing themselves through enthusiasm, bravado and youthful stupidity…

The following issue (#58, September/October) explored ‘The Hunters – and the Hunted!’, detailing how, after a blazing succession of kills, Von Hammer takes a recreational trip to his beloved Black Forest and renews acquaintance with his lupine companion. Here he has a brief encounter with a beautiful lady whose passion for the celebrity hero dies as she soon as apprehends his cold, seemingly emotionless executioner’s nature…

With all forms of human warmth clearly denied him, the Hammer of Hell reluctantly returns to the aerial killing fields…

Things went quiet after that as Enemy Ace clearly didn’t sell highly enough to garner its own continuing feature. Time passed and anti-war sentiment increasingly gripped the nation. In 1968 bimonthly war-mag Star Spangled War Stories – a title with a reputation for and history of offbeat material (Mlle. Marie, War that Time Forgot) – revived Von Hammer for a spectacular run of mesmerising tales which conclusively proved, time after time, that every War is Hell…

It began in #138 (April/May) with visually intoxicating epic ‘The Slayers and the Slain!’, debuting a French counterpart to the Teutonic Terror in the forbidding form of the masked and hooded, eerily anonymous Hangman.

This sombre sky-warrior flew a sinister coal-black Spad, throwing German pilots into a paralysing psychological funk, yet a conclusive duel with Von Hammer is postponed until the German recovers from yet another bout of wounds won in the Killer Skies…

With room to explore their timeless theme of a good man forced into wicked actions, SSWS #139 flashed back to the boyhood of the Air Ace in ‘Death Whispers… Death Screams!’ Here the austere life of a noble warrior is exposed; the manly pursuits of a Junker in training drummed into young Hans by his severe but loving father.

That grizzled old warrior, from a proud family of patriotic heroes, inculcates in the last of his line an overarching dedication to duty and honour above all other considerations: beliefs which carry him in his present endeavours though the shock of being humiliatingly shot down by the Hangman.

When they met again in the skies it is the Frenchman who crashes to earth, but he too survives to fly another day…

Also included here is a superb Kubert pictorial fact feature Battle Album: Fokker DR-1 and Spad S.13 to add to the already technically overwhelming ambiance…

In #140, the next clash of equals hideously reveals ‘The Face of the Hangman’, resulting in both men being marooned on the French side of the lines and becoming respectful intimates as Hammer heals in his rival’s chateau before the call of country and duty resulted in one final, fateful airborne showdown…

Inked by Frank Giacoia & Joe Giella, Star Spangled War Stories #141 takes a hard look at the men who fly beside Von Hammer. ‘The Bull’ is an ambitious new flier in the Jagdstaffel who endangers and even kills his own comrades in a pitiless quest for fame and glory. Before long, the Rittmeister has to take decisive and fatalistic action…

‘Vengeance is a Harpy!’ sees the impossible return of the Hangman, sowing death and terror amongst the German pilots, and forcing Von Hammer into a battle he does not want with a person he has come to admire, if not love…

In ‘The Devil’s General’ – after more time spent with the wolf in the woods – the brooding Rittmeister returns to duty, harrying ground troops and spectacularly eradicating opposition fliers. His composure is soon blighted by elderly General von Kleit, who forces his son Werner into the Squadron, expecting Von Hammer to keep the boy safe in the pitiless skies.

When the callow youth is shot down and captured, the Hammer of Hell moves Heaven and Earth to bring him back alive…

For #144, Kubert inked hot new penciller Neal Adams on ‘Death Takes No Holiday!’ as another macabre death-dealing French Ace – dressed as a skeleton – terrorises and slaughters the Jagdstaffel’s pilots, forcing the Enemy Ace into insane action to inspire his men and cure a young flier of fear-induced madness…

With Kubert back on solo art duties, SSWS #145 sees Von Hammer plagued by nightmares of his greatest opponent, as he attempts to school a trio of veteran pilots for the inevitable day when one would replace him. However, the actual ‘Return of the Hangman’ shatters those plans forever…

Another baroque opponent surfaces in #147 as an obsessive English lunatic believing himself St. George dons a suit of armour to shoot down far too many of the Rittmeister’s pilots. It’s all part of a scheme to give the infallible Hammer of Hell ‘A Grave in the Sky!’ However, this particular vendetta concludes on the ground with ancient swords drawn…

Kanigher was never above using wrenching melodrama and sheer sentimentality to his advantage. The moving saga in #148 describes how a little puppy becomes a mascot for solitary, isolated Von Hammer, but the cute little tyke’s inescapable horrific ending is just another hammer-blow of heartbreak in ‘Luck is a Puppy named Schatzi!’

Despite immense critical acclaim, the series dwindled in popularity. Star Spangled War Stories 149 (February/March 1970) saw the Viking Prince join the eclectic comic’s line up with Enemy Ace reduced to 15 pages. ‘Reach for the Heavens’ – inked by Sid Greene – finds Von Hammer again meeting hated flying school rival Heinrich Müller: a complex sadistic killer who redeems himself after committing war crimes in a tale tinged with supernatural overtones…

The run truly ended with #150 and ‘3 Graves to Home!’, as the Enemy Ace is shot down over rural France and must fight his way back to his own lines. He encounters a succession of civilians all putting a human face on the war he usually fought so far above them, but his time in the sun was almost over…

With Star Spangled War Stories #151(June/July 1970), a new feature took over the lead spot, running until the magazine changed its name with the 204th (February 1977) issue to reflect the newcomer’s popularity. As The Unknown Soldier, it continued for a further 64 episodes until it too died with #268 (October 1982).

Star Spangled War Stories #152, however, offered one more uncompromising mission from which only the Hammer of Hell returned. ‘Rain Above… Mud Below!’, illustrated by Russ Heath, was supplemented by another informative Kubert Battle Album starring the Lafayette Escadrille

Although gone, the iconic German warrior was far from forgotten. SSWS #158 featured a stunning Kubert ‘Special Pin-up: Enemy Ace – the Hammer of Hell’ whilst issue #181-183 held a compelling 3-part back-up serial by Kanigher & Frank Thorne which pitted the noble intellectual against maverick American Ace Steve Savage – “The Balloon Buster” in ‘Hell’s Angels Part One: The Hammer of Hell!’, ‘Hell’s Angels Part Two: The Maverick Ace!’ and the savage but inconclusive finale ‘Hell’s Angels Part Three: To End in Flames!’(June/July to November/December 1974)…

Von Hammer resurfaced in the anniversary Star Spangled War Stories #200 (June/July 1976). ‘Shooting Star’ was written and drawn by Kubert, as a German innovation in rocket-propelled aircraft catastrophically proves to be an invention whose time had not yet come…

A new anthology comic book debuted in August 1977. Men of War starred Gravedigger, a black American GI in WWII, but had alternating back-ups. Enemy Ace copped the first slot in issues #1-3 (by Kanigher, Ed Davis & Juan Ortiz) as ‘Death is a Wild Beast!’ saw Von Hammer down a devil-themed British pilot who accomplished a miraculous ‘Return from Hell!’ before exhibiting ‘The Three Faces of Death’ in the final instalment. As ever, the real meat of the macabre missions was the toll on the minds and bodies of the merely mortal fliers that died whilst Von Hammer lived on…

Another triptych featured in #8-10. ‘Silent Sky… Screaming Death!!’ – illustrated by Larry Hama & Bob Smith – began a trenchant tale of a family at war before Howard Chaykin took over the illustration with a duel in the sky resulting in an attack by vengeful siblings and the return of Von Hammer’s father in ‘Brother Killers!’, before ending in a fateful ‘Duel at Dawn!’

Men of War #12-14 offered more of the same as ‘Banner of Blood!’ saw the troubled Rittmeister strive to retrieve the Von Hammer family flag from a cunning French air ace who was an ancestral foe of ‘The Last Baron!’ The centuries-long vendetta with the Comtes de Burgundy finally ended in one last honourable ‘Duel!’

Issues #19-20 (August and September 1979) finished another run with one more tale of idiotic honour and wasted young lives as Von Hammer made ‘A Promise to the Dying’ and sought to return a contentious souvenir to its rightful owner in ‘Death Must Wait!’

In the May 1981 Unknown Soldier – #251 – Enemy Ace began an occasional series of adventures illustrated by the phenomenal John Severin.

First was ‘Hell in the Heavens Part One: I, the Executioner’ wherein Von Hammer’s whirlwind romance with Fraulein Ingrid Thiesse hit a bump after he told of the British boy pilot who died in his arms. Having sworn to find his valiant foe’s sister and return an heirloom, Hans soon found himself under attack in #252’s ‘Hell in the Heavens Part Two: The Midnight Spy’, before shocking answers were manifest in the concluding ‘Hell in the Heavens Part Three: Midnight and Murder’…

A far more imaginative yarn unfolded in #260 (February 1982) with ‘I Am My Own Executioner Part One: Stolen Face – Stolen Ace!’ when the German High Command brings in a doppelganger to replace national hero Von Hammer as he recovers from wounds. Sadly, the impostor was not only a sadistic butcher but crazy as a loon and the real deal had to defy his doctors and military superiors before shooting the maniac out of the skies – for the sake of the country and his own besmirched good name – in #261’s ‘I Am My Own Executioner Part Two: Death of a Double!’

The last flight of the war-weary warrior came in Unknown Soldier #265-267 (July through September 1982) as the British Government puts a huge price on Von Hammer’s head in ‘A Very Private Hell Part One: The Bounty Hunters!’

The resultant furore leads to a return engagement for Yankee white trash Steve Savage in ‘A Very Private Hell Part Two: The Substitute Ace’ and the death of a brave but foolhardy fake ace before the drama ends – again inconclusively – in ‘A Very Private Hell Part Three: Debt of Blood’

Although the grim conflicts of the chivalrous cavalry of the clouds conclude here, this epic tome holds one last treat in reserve: an outré but definitively classy tribute to the Hammer of Hell which originally appeared Detective Comics #404 (October 1970). Crafted by Denny O’Neil, Neal Adams & Dick Giordano, ‘Ghost of the Killer Skies!’ sees Batman attempting to solve a series of impossible murders on the set of a film about the German WWI fighter ace.

All evidence seems to prove that the killer can only be a vengeful phantom, but in the killer skies over Central Spain the Dark Detective uncovers almost incontrovertible evidence of a malign human intelligence behind the deaths.

…Almost incontrovertible…

These often bizarre, always moving and utterly unforgettable stories celebrate a true high point in the annals of combat comics: crafted by masters of the art form who never failed to ram home the point that war is not a profession for anybody who enjoys it, and that only the lucky, the mad and the already-doomed have any chance of getting out at all…
© 1965, 1968, 1969, 1970, 1971, 1974, 1976, 1977, 1978, 1979, 1981, 1982, 2008 DC Comics All Rights Reserved.

The Joker: His Greatest Jokes


By Bill Finger, Bob Kane, David Vern, John Broome, Denny O’Neil, Gerry Conway, Doug Moench, Paul Dini, Tom Seeley, Lew Sayre Schwartz, Sheldon Moldoff, Bob Brown, Irv Novick, José Luis García-López, Don Newton, Don Kramer, Sami Basri, Otto Schmidt, Jerry Robinson, George Roussos, Charles Paris, Joe Giella, Dick Giordano, Dan Adkins, Alfredo Alcala, Wayne Faucher & various (DC Comics)
ISBN: 978-1-4012-9441-0 (TPB)

When this year started, I expected to spend lots more time celebrating and commemorating the comics anniversaries that had rolled around. We all know how and why that didn’t happen, so with some frantic re-jigging I’ve shoehorned one of the most enduring arch-foes in fiction in to this Halloween segment.

It’s safe to assume that almost everybody knows some iteration of the Joker – probably more than one – so kudos to the editors of this curated historical compilation for unearthing some of the less well-known clown-clashes here. Therefore, sit back and ponder just why the Monarch of Malignant Mirth known got to survive 80 gory-ous years and enjoy…

However, fascinating and informative as those features are, the real literary largesse is to be found in the 19 stirring tales which comprise the bulk of this tome…

A good old-fashioned chronological compendium of the Harlequin of Hate’s ever-changing, so-mutable antics and aggressive transgressions, this trade paperback/digital treat re-presents stories from Batman #8, 67, 145, 260, 353, 366, Detective Comics #388, 833-834, The Spectre #51 and Batman: Prelude to the Wedding: Harley Quinn vs The Joker #1, and opens sans preamble with ‘The Cross Country Crimes’ (Batman #8, by Bill Finger, Bob Kane, Jerry Robinson & George Roussos; December 1941/January 1942) which sees the plundering poltroon rampage across America in a classic blend of larceny and lunacy.

A decade later, the edgy, implied violence was replaced by smart plotting and bizarre situations as David Vern, Kane, Lew Sayre Schwartz & Charles Paris’ ‘The Man Who Wrote the Joker’s Jokes’ (Batman #67, by October/November 1951) sees the Crime Clown hire literary ghosts to plot his capers before ultimately overreaching by blackmailing Batman into writing his next – and last – heist…

Finger & Sheldon Moldoff t told a tale within a tale as ‘The Son of the Joker’ (Batman #145; February 1962) sees butler Alfred penning his own brand of fanfic, detailing how the next generation of Caped Crusaders (an adult Dick Grayson and Bruce Wayne’s son) clash with the inheritors of the Clown’s colours…

Detective Comics #388 (June 1969) saw John Broome make a major course correction, moving the Joker away from buffoonery back towards the insane killer we all cherish in ‘Public Luna-tic Number One!’ – a classy sci-fi thriller totally reinventing the Laughing Loon, in no small part thanks to the artistic efforts of artists Bob Brown & Joe Giella.

‘This One’ll Kill You, Batman!’ by Denny O’Neil, Irv Novick & Dick Giordano from Batman #260 (January/February 1975) sees the grim, po-faced Darknight Detective racing to save his own life after being poisoned by Joker Toxin that acts like an irresistible, lethal laughing gas, after which ‘Last Laugh’ (Batman #353, November 1982) sees Gerry Conway, the incomparable José Luis García-López and inker Dan Adkins detail the Mountebank of Mayhem’s latest ego boost, by attempting to immortalise his face in mountainous stone whilst getting rid of his greatest enemy forever…

Batman #366 – from December 1983 and courtesy of Doug Moench, Don Newton & Alfredo Alcala offers some contemporary unrealpolitik as the Joker brings his singular taste for chaos to war-torn Guatemala as he attempts to take over the nation. He is foiled by a unique team consisting of journalist Vicki Vale, Batman and the hero’s latest recruit… a masked kid named Jason Todd

‘A Savage Innocence’ (The Spectre #51, by John Ostrander & Tom Mandrake; March 1997) takes a peek behind the lunacy, as God’s instrument of Divine Wrath faces the Crazy Clown. After the Joker kills everyone in New York comedy club The Killing Joke, the Spectre enters the maniac’s mind and is horrifically compromised and converted…

Crafted by Paul Dini, Don Kramer & Wayne Faucher, ‘Trust’ (parts one and two, from Detective Comics #833-834; August and September 2007), ostensibly feature an encore performance for warped and homicidal stage magician Ivar Loxias, but all too soon, the chilling tale of slaughter and trickery guest-starring the bewitching Zatanna turns up a Joker in the stacked deck…

This box of exotic delights ends with a recent but thoroughly entertaining slice of catharsis from Batman: Prelude to the Wedding: Harley Quinn vs The Joker #1 (August 2018). Written by Tom Seeley, with art by Sami Basri, Otto Schmidt & Jessica Kholinne, ‘Till Death Do Us Part’ finds the Grinning Ghoul diverted from his intended disruption of Batman and Catwoman’s wedding, by old flame Harley Quinn, who feels there are unresolved issues from their own unique romantic interlude. She wants to talk it all out and she’s brought the necessary restraints and weaponry…

The Joker has spanned DC’s entire continuity, adding mirth, mayhem and madness to the shining clockwork universe. If you need to walk a bit wild and enjoy straying from the paths most taken, this intriguing confection might be just up your dark and threatening alley…
© 1941, 1951, 1962, 1969, 1974, 1982, 1983, 1997, 2007, 2018, 2019 DC Comics. All rights reserved.

Joker (10th Anniversary Edition)


By Brian Azzarello & Lee Bermejo, with Mick Gray & Patricia Mulvihill (DC Comics Black Label)
ISBN: 978-1-4012-9428-1 (HB)

I’m going to voice what is probably a minority opinion here, so please be aware that this is possibly one of those books that you’ll need to make your own mind up about – but then again, aren’t they all?

Brian Azzarello & Lee Bermejo have, singly and in partnership, created some of the best and most popularly received comics tales of the last decade or so: tough, uncompromising, visually memorable yarns that explore the darkest facets of human nature, yet with a deep core of sardonic wit – thoroughly readable but always-challenging.

A book dedicated to the grotesque antithesis and ultimate foe of the coldly logical Dark Knight therefore, would seem like the ideal vehicle for their talents and particular world-views…

The Joker is getting out of Arkham Asylum. Incredibly, the Clown Prince of Crime and undisputed ruler of all Gotham City’s rackets has been judged sane. He’s coming out, and he’s going to want his old position back. The mobsters that now run the city are terrified but resigned. He’s coming back, so somebody has to go fetch him…

Made Man on a downward spiral, Johnny Frost volunteers to be the guy, becoming the terrifying clown’s chauffeur and bodyguard in the process. The Joker is a murderous time-bomb everybody expects to explode at any moment, and as soon as he hits the city, he recruits Killer Croc as his enforcer, and begins working his way back to the top of the heap, using his reputation and horrifying propensity for baroque bloodletting the way a rattlesnake uses his tail.

Many of Batman’s rogues’ gallery (Penguin, Two-Face, Riddler and so on) are in paying attendance in various uncharacteristic positions of nefarious authority, and the events – narrated with growing desperation by helpless witness Frost – spiral towards an inevitable and bloody climax of madness and conflict. Clearly constructed for modern movie audiences, this is more a post-modern take on the classic gangster plot of a ruthless thug reclaiming his territory, rather than a yarn featuring the bizarre costumed crooks older fans might be more familiar and comfortable with.

No matter how beautiful or well executed (and it really is), nor how much overlap there is with most recent film franchise, for many of us emotionally wedded to the overarching continuity, this just does not work as a Joker story. Scar-Face, Blackmask, Maxie Zeus, even a real criminal like Al Capone perhaps, but the Joker shouldn’t be a “Goodfella” with a grudge and some gory peccadilloes: he’s the ultimate expression of random, bloody chaos, a bundle of “Impulse Issues” wrapped tight in a spiky ball of psychosis…

Devised as a miniseries and “promoted” to a high-profile original hardback before release, this is a taut and nasty thriller, immaculately illustrated: but there’s very little Batman in there, and no Joker at all…

Please feel free to disagree, and this certainly is a unique work that should be seen by all with the stomach for it – especially in this 80th anniversary year. The book is available in numerous iterations, but this Black Label edition rerelease (in Hardcover and digital formats) offers further enticements in the form of bonus section ‘Held for Observation’. Here be evaluations from Azzarello & Bermejo, promotional art, the original miniseries proposal, cover art for Wizard Magazine, character studies, previous edition cover art, unused covers, lots of pre-coloured story pages, and an outrageously irreverent Calvin and Hobbes spoof strip by Azzarello & Bermejo which saw print as Joker and Lex in Superman/Batman #75 (Summer 2010).

Trust me, this joke you should get…
© 2008, 2013 DC Comics. All Rights Reserved.

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.