Category: Batman

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Showcase Presents Robin the Boy Wonder


By Gardner Fox, Mike Friedrich, Frank Robbins, Gil Kane, Irv Novick, Dick Dillin & various (DC Comics)
ISBN: 978-1-84576-814-0

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

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

Robin even had his own solo series in Star Spangled Comics from 1947 to 1952, a solo spot in the back of Detective Comics from the end of the 1960s wherein he alternated and shared with Batgirl, and a starring feature in the anthology comic Batman Family. During the 1980s he led the New Teen Titans first in his original costumed identity but eventually in the reinvented guise of Nightwing, re-establishing a turbulent working relationship with his mentor Batman.

This broad ranging black and white compilation volume covers the period from Julie Schwartz’s captivating reinvigoration of the Dynamic Duo in 1964 until 1975 with Robin-related stories and material from Batman #184, 192, 202, 213, 227, 229-231, 234-236, 239-242, 244-246, 248-250, 252, 254 and portions of 217, Detective Comics #342, 386, 390-391, 394-395, 398-403, 445, 447, 450-251, Worlds Finest Comics #141, 147, 195, 200, Superman’s Pal Jimmy Olsen #91, 111, 130 and Justice League of America #91-92.

The wonderment begins with the lead story from Batman #213 (July-August 1969) – a 30th Anniversary reprint Giant – which featured an all-new retelling of ‘The Origin of Robin’ courtesy of E. Nelson Bridwell, Ross Andru & Mike Esposito, which perfectly reinterpreted that epochal event for the Vietnam generation. After that the tales proceed in (more or less) chronological order, covering episodes where Robin took centre-stage.

First up is ‘The Olsen-Robin Team versus “the Superman-Batman Team!”’ (World’s Finest #141 May 1964). In this stirring blend of science fiction thriller and crime caper, the underappreciated sidekicks fake their own deaths and undertake a secret mission even their adult partners must remain unaware of… for the very best of reasons of course, whilst the sequel from WF #147 (February 1965, Hamilton, Swan & Klein) delivers an engaging drama of youth-in-revolt as ‘The New Terrific Team!’ quit their assistant roles to strike out on their disgruntled own. Naturally there’s a perfectly reasonable if incredible reason here, too…

Detective Comics #342 (August 1965) featured ‘The Midnight Raid of the Robin Gang!’ by John Broome, Sheldon Moldoff & Joe Giella, wherein the Boy Wonder infiltrated a youthful gang of costumed criminals whilst Superman’s Pal Jimmy Olsen #91 (March 1966) provided ‘The Dragon Delinquent!’ (Leo Dorfman & Pete Costanza) which saw Robin and the cub reporter both, unknown to each other, infiltrate the same biker gang with potentially fatal consequences.

‘The Boy Wonder’s Boo-Boo Patrol!’ originally appeared as a back-up in Batman #184 (September 1966 by Fox, Chic Stone & Sid Greene), showing the daring lad’s star-potential in a clever tale of thespian skulduggery and classy conundrum solving, whilst ‘Dick Grayson’s Secret Guardian!’ from Batman #192 (June 1967: Fox, Sheldon Moldoff & Joe Giella) displayed his physical prowess in one of comicbooks’ first instances of the now over-used exo-skeletal augmentation gimmick.

‘Jimmy Olsen, Boy Wonder!’ (Superman’s Pal Jimmy Olsen #111, June 1968, by Cary Bates & Costanza) saw the reporter try to prove his covert skills by convincing the Gotham Guardian that he was actually Robin whilst that same month in Batman #203 the genuine article tackled the ‘Menace of the Motorcycle Marauders!’ (by Mike Friedrich, Stone & Giella) consequently learning a salutary lesson in the price of responsibility…

Cover-dated April 1969, Detective Comics #386 featured the Boy Wonder’s first solo back-up in what was to become his semi-regular home-spot, alternating with Batgirl. ‘The Teen-Age Gap!’ (Friedrich, Andru & Esposito) depicted a High School Barn Dance which only narrowly escaped becoming a riot thanks to his diligent intervention, but when Gil Kane & Murphy Anderson took over the art-chores for #390’s ‘Countdown to Chaos!’ (August 1969), the series came stunningly alive. Friedrich concocted a canny tale of corruption and kidnapping leading to a paralysing city ‘Strike!’ for the lad to spectacularly expose and foil in the following issue.

Batman #217 (December 1969) was a shattering landmark in the character’s long history as Dick Grayson left home to attend Hudson University. Only the pertinent portion from ‘One Bullet Too Many!’ by Frank Robbins, Irv Norvick & Dick Giordano is included here, closely followed by ‘Strike… Whilst the Campus is Hot’ (Detective #394 from the same month, by Robbins, Kane & Anderson) as the callow Freshman stumbled into a campus riot organised by criminals and radical activists which forced the now Teen Wonder to ‘Drop Out… or Drop Dead!‘ before stopping the seditious scheme…

Detective Comics #398-399 (April and May 1970) featured a two-part spy-thriller where Vince Colletta replaced Anderson as inker. ‘Moon-Struck’ saw lunar rock samples borrowed from NASA apparently cause a plague among Hudson’s students until Robin exposed a Soviet scheme to sabotage the Space Program in ‘Panic by Moonglow’.

The 400th anniversary issue (June 1970) finally teamed the Teen Wonder with his alternating back-up star in ‘A Burial For Batgirl!’(Denny O’Neil, Kane & Colletta): a college-based murder mystery which once more heavily referenced the political and social unrest then plaguing US campuses, but which still found space to be smart and action-packed as well as topical before the chilling conclusion ‘Midnight is the Dying Hour!’ wrapped up the saga.

Never afraid to repeat a good idea, Superman’s Pal Jimmy Olsen #130 (July 1970) saw Bob Haney & Murphy Anderson detail the exploits of ‘Olsen the Teen Wonder!’ as the boy reporter again aped Batman’s buddy to infiltrate an underworld newspaper whilst World’s Finest #195 (August 1970) found Jimmy & Robin targeted for murder by the Mafia in ‘Dig Now, Die Later!’ by Haney, Andru & Esposito.

Simultaneously in Detective #402, ‘My Place in the Sun’ by Friedrich, Kane & Colletta, embroiled Dick Grayson and fellow Teen Titan Roy “Speedy” Harper in a crisis of social conscience, before our scarce-bearded hero wrapped up his first Detective run with the corking crime-busting caper ‘Break-Out’ in the September issue.

Robin’s further adventures transferred to the back of Batman, beginning with #227 (December 1970) and ‘Help Me – I Think I’m Dead!’ (Friedrich, Novick & Esposito) as ecological awareness and penny-pinching Big Business catastrophically collided on the campus, beginning an extended epic which saw the Teen Thunderbolt explore communes, alternative cultures and the burgeoning spiritual New Age fads of the day.

‘Temperature Boiling… and Rising!’ (inked by Frank Giacoia from #229, February 1971) continued the politically charged drama which is uncomfortably interrupted by a trenchant fantasy team-up with Superman sparked when the Man of Steel attempted to halt a violent campus clash between students and National Guard.

‘Prisoners of the Immortal World!’ (World’s Finest #2000 February 1971, by Friedrich, Dick Dillin & Giella) featured brothers on the opposite side of the teen scene kidnapped with Robin and Superman to a distant planet where undying vampiric aliens waged eternal war on each other, before returning to more pedestrian perils in Batman #230 (March 1971) where ‘Danger Comes A-Looking!’ for our young hero in the form of a gang of right-wing, anti-protester jocks and a deluded friend who preferred bombs to brotherhood, courtesy of Friedrich, Novick & Dick Giordano.

‘Wiped Out!’ (#231, May 1971) produced an eye-popping end to the jock gang whilst #234 offered a clever road-trip tale in ‘Vengeance for a Cop!’ when a campus guard was gunned down and Robin tracked the only suspect to a commune. ‘The Outcast Society’ had its own unique system of justice but eventually the shooter was apprehended in the cataclysmic ‘Rain Fire!’ (#235 and 236 respectively).

The Collective experience blossomed into psychedelic and psionic strangeness in Batman #239 as ‘Soul-Pit’ (illustrated by new penciller Rich Buckler) found Dick Grayson’s would be girlfriend, Jesus-freaks and runaway kids all sucked into a telepathic duel between a father and son, played out in the ‘Theatre of the Mind!’ before revealing the ‘Secret of the Psychic Siren!’ culminating in a lethal clash with a clandestine cult in ‘Death-Point!’ in Batman #242 (June 1972).

After that eerie epic we slip back a year to peruse the Teen Wonder’s participation in one of the hallowed JLA/JSA summer team-ups beginning with Justice League of America #91 (August 1971) and ‘Earth… the Monster-Maker!’ as the Supermen, Flashes, Green Lanterns, Atoms and a brace of Hawkmen from two separate Realities simultaneously and ineffectually battled an alien boy and his symbiotically-linked dog (sort of) on almost identical planets a universe apart, whilst painfully patronising the Robins of both until ‘Solomon Grundy… the One and Only!’ gave everybody a brutal but ultimately life-saving lesson on acceptance, togetherness, youthful optimism and lateral thinking.

‘The Teen-Age Trap!’ by Elliot Maggin, Novick & Giordano (Batman #244, September 1972) found Dick Grayson mentoring troubled kids – and finding plenty of troublemakers his own age – whilst ‘Who Stole the Gift From Nowhere!’ was a delightful old fashioned change-of-pace mystery yarn.

‘How Many Ways Can a Robin Die?’ by Robbins, Novick Dillin & Giordano from Batman #246 (December 1972) is actually a Dark Knight story with the Teen Wonder reduced to helpless hostage throughout, but issue #248 began another run of short solo stories with ‘The Immortals of Usen Castle’ (Maggin, Novick & Frank McLaughlin) wherein a deprived-kids day trip turned into an episode of Scooby-Doo, Where are You?, whilst the ‘Case of the Kidnapped Crusader!’ (pencilled by Bob Brown) put the Student Centurion on the trail of an abducted consumer advocate and ‘Return of the Flying Grayson!’ by Maggin, Novick & McLaughlin from #250 painfully reminded the hero of his Circus past after tracking down pop-art thieves.

Batman #252 (October 1973) featured a light-hearted pairing with a Danny Kaye pastiche in the charming romp ‘The King From Canarsie!’ by Maggin, Dillin & Giordano, whilst ‘The Phenomenal Memory of Luke Graham!’ (#254 January/February 1974 and inked by Murphy Anderson) caused nothing but trouble for Robin, college professors and a gang of robbers…

It was a year before the Teen Wonder’s solo sallies resumed with ‘The Touchdown Trap’ in Detective Comics #445 as new scripter Bob Rozakis and guest artist Mike Grell catapulted our hero into a fifty-year old college football feud that refused to die, whilst ‘The Puzzle of the Pyramids’ (#447 illustrated by A. Martinez & Mazzaroli) offered another clever crime mystery.

This magically eclectic monochrome compendium concludes with an action-packed human drama in ‘The Parking Lot Bandit!’ and ‘The Parking Lot Bandit Strikes Again!’ from Detective #450-451, (August and September 1975, drawn by art from Al Milgrom & Terry Austin).

These stories span a turbulent and chaotic period for comicbooks: perfectly encapsulating and describing the vicissitudes of the superhero genre’s premier juvenile lead: complex yet uncomplicated adventures drenched in charm and wit, moody tales of rebellion and self-discovery and rollercoaster, all-fun romps. Action is always paramount and angst-free satisfaction is pretty much guaranteed. This book of cracking yarns something no fan of Fights ‘n’ Tights fiction can afford to miss.

© 1964-1975, 2008 DC Comics. All Rights Reserved.

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The Kingdom


By Mark Waid & various (DC)
ISBN: 978-1-56389-567-6   Titan Books edition 978-1-84023-122-9

After the staggering success of the 1996 miniseries Kingdom Come a sequel was utterly inevitable, but things didn’t exactly go according to plan and it was three years before a 2-issue return to that intriguing “Elseworld” was released; book-ending 6 individual one-shots, all set in the aftermath of the epochal epic which saw Superman return from a self-imposed exile to once more save the world.

Before all that though a prologue was released in Gog (Villains) #1, which segued into The Kingdom #1 and continued in an interwoven mosaic progression through spin-offs The Kingdom: Son of the Bat, The Kingdom: Nightstar, The Kingdom: Offspring, The Kingdom: Kid Flash and The Kingdom: Planet Krypton before concluding in The Kingdom #2.

This second “what if?” saga boldly managed to connect the once-separate continuity to the mainstream DC universe and introduced another bridging concept that opened the way for all the storylines and history eradicated in Crisis on Infinite Earths to once more be “real and true”.

Illustrated by Jerry Ordway & Dennis Janke, ‘The Road to Hell’ opens in the devastated fallout zone of Kansas where the returned Superman rescues a little boy – sole survivor of a holocaust caused by warring superheroes. Decades later that boy has grown into Minister William: a beneficent Samaritan and religious zealot who literally worships the Man of Steel as a redeeming God – until the hero painfully and finally disabuses him of the notion.

With his world torn apart for a second time William is given the true history of the universe by the Phantom Stranger and the broken preacher is reborn as Gog, a being of vast power able to manipulate events and change history.

The Stranger is part of a Cosmic alliance called the Quintessence and believes he is creating a force for good, tasked with undoing great tragedy; but the deranged Gog has another idea and promptly murders Superman – the destroyer of his faith and thus the maniac’s personal anti-Christ…. Moreover, the psychotic William begins to travel back in time intending to jump-start the Kansas Incident. On the way he will stop every 24 hours and kill Superman again: every day of his evil alien life and one day at a time… Most terrifying of all is the fact that the Quintessence are quite happy with Gog’s horrifying scheme…

Kingdom Come #1 (art by Ariel Olivetti) recapitulates the ‘Never Ending Slaughter’ as spectral adventurer Deadman gathers all of Superman’s ghosts slain since August 11th 2040 in an unending variety of gruesomely imaginative ways, victims of Gog’s reality-rupturing mania.

The resultant time-disruption energises Chronal guardians The Linear Men, but before they can act to protect the Space-Time Continuum one of their number betrays them and sets out to tackle the crisis his own way.

A year after the events of Kingdome Come Wonder Woman is giving birth to the son she and Superman conceived when Gog arrives to once more kill the Man of Tomorrow. Driven off by that era’s massed superhero population Gog escapes into the timestream taken the newborn child with him to 1998 where he will raise it as his disciple Magog.

With all of existence liable to vanish at any second the renegade Linear Man invites Superman, Wonder Woman and Batman to accompany him on a last-ditch mission to stop the maniac and save Kansas.

But now, whatever happens, the entire timeline and everybody in it will alter and might even never have existed…

As the World’s Greatest heroes vanish into the past they leave behind a shell-shocked band of new warriors desperately making their peace with imminent, inescapable and irreversible doom…

The Kingdom: Son of the Bat introduces Ibn al Xu’ffasch, heir of both Batman and Ra’s al Ghul, who uses his incredible intellect and astounding resources to resurrect the world’s greatest villains in hope of forestalling the apocalypse in ‘Convergence’, illustrated by Brian Apthorp & Mark Farmer, whilst The Kingdom: Nightstar finds the daughter of Nightwing and Starfire going ‘Not So Gently’ (art by Matt Haley & Tom Simmons) as one of her closest metahuman friends cracks under the pressure of impending non-existence and attempts to end it all quickly and cleanly by destroying the satellite which provides most of Earth’s food. Both these tales conclude with a time-bending stranger offering a way to fight back against the impossible situation…

‘Flexibility’ from The Kingdom: Offspring – superbly rendered by Frank Quitely – takes a softer approach by examining a unique father and son relationship as the clownish heir of Plastic Man tries to mend a few fences and have one last fling before the end, whilst The Kingdom: Kid Flash presents a ‘Quick Fix’ (Mark Pajarillo & Walden Wong) as the over-achieving daughter of the Fastest Man Alive attempts to live up to an impossible standard before the individual interludes end with The Kingdom: Planet Krypton wherein ordinary waitress Rose D’Angelo spends her last day working at the same hero-themed fast food restaurant she always has. Of course the place is ‘Haunted’ by ghosts only she can see – ephemeral, impossible alternate versions of costumed champions that never existed… or did they?

The Barry Kitson limned mystery leads directly into the concluding issue of The Kingdom, illustrated by Mike Zeck & John Beatty. ‘Mighty Rivers’ sees Magog reach the present in the mainstream DC universe and open his campaign to nuke Kansas. The current Superman is unable to defeat him until the time-travelling trinity of older heroes arrive, precipitating a calamitous battle and a technological Deus ex Machina wherein the imperilled champions of the doomed tomorrow save themselves and their still-potential reality thanks to the convenient miracle of Hypertime – where all things are possible…

Despite being all-but impenetrable to casual readers this climactic costumed caper is visually impressive and tremendously clever – if you’re au fait with the details of the DC canon – and much of the meat of this saga has since permeated such series as Justice Society of America and other titles, with wary readers continuing to wonder which of these “imaginary” characters will eventually manifest in the “real” world of DC Comics…

A definite fun-fest for DC devotees but perhaps a trifle over-focused for the casual consumer…
© 1999 DC Comics. All Rights Reserved.

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Batman: Heart of Hush


By Paul Dini, Dustin Nguyen & Derek Fridolfs (DC Comics)
ISBN: 978-1-4012-2123-2, softcover 978-1-84856-214-1

Paul Dini once more proved himself the very best of contemporary Batman writers with this chilling, suspenseful epic of love and obsession featuring Bruce Wayne’s ultimate adversary Tommy Elliot, a boyhood friend as twisted by his own mother’s malign influence as the boy Bruce was transformed by the murder of his parents Thomas and Martha Wayne.

Eminent surgeon Elliot became the sadistic and obsessive Hush to obtain vengeance on Bruce Wayne; his boyhood friend and companion but one who had been perpetually held up to him as a perfect example of a son by Elliot’s disabled and deranged mother. Now in this intriguing and affecting collection, reprinting Detective Comics #846-850 we gain a deeper insight into Batman’s dark doppelganger and the succession of tragedies that made him.

The stunning saga opens with ‘First Families of Gotham’ with occasional allies Catwoman and Batman tackling theme villain Doctor Aesop, unaware that the malignant, murderously patient Elliot is watching their every move. As telling slices of his ghastly childhood are presented the crazed doctor concludes the final preparations for his greatest scheme of vengeance…

In ‘The Last Good Day’ more memories of Elliot’s school days with young Bruce Wayne counterpoint the targeting of Robin, Zatanna and Nightwing as the entire Batman Family come under Hush’s meticulous and malicious gaze and the villain prepares a perfect trap for Batman with the terrifying assistance of Dr. Jonathan Crane – the Scarecrow…

Batman is forced to confront the greatest chink in his heroic armour in  ‘Heartstrings’ and Catwoman is struck down and made the ultimate hostage via a grotesque surgical strike, pushing the Dark Knight to the edge of reason and brink of death in ‘Scars’…

When the finally part of the plan culminates in Tommy Elliot becoming Bruce Wayne the scene is set for a spectacular confrontation with neither combatant quite sure who is the hero and who ‘The Demon in the Mirror’…

With a vast assembly of guest-stars and visiting villains, Heart of Hush finally elevated the previously over-hyped and uninspiring Tommy Elliot to the first rank of Batman’s Rogues Gallery. Fast, furious, genuinely scary and powerfully this is a masterful tale of suspense that no fan should miss… and since it’s available in both handsome hardback and scintillating softcover editions, you don’t have to..
© 2008, 2009 DC Comics. All Rights Reserved.

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Showcase Presents Batman volume 2

New revised review

By Gardner Fox, John Broome, Robert Kanigher, Sheldon Moldoff, Carmine Infantino & various (DC Comics)
ISBN 978-1-84576-661-0

This volume from the wonderfully cheap and cheerful Showcase Presents… imprint serves up all thirty-six new Batman stories from September 1965 to December 1966 (which originally appeared in Batman #175-188 and Detective Comics #343-358 – excluding Batman’s #176, 182, 185 & 187 which were all-reprint 80-Page Giants) in beautiful, crisp black and white. They were produced in the months leading up to the launch of and throughout the first year of the blockbuster Batman television show (premiering on January 12th 1966 and running for three seasons of 120 episodes in total).

The show aired twice weekly for its first two seasons, resulting in vast amount of Bat-awareness, no end of spin-offs and merchandise – including a movie – and the overkill phenomenon of “Batmania”. No matter how much we might squeal and foam about it, to a huge portion of this planet’s population Batman is always going to be that “Zap! Biff! Pow!” buffoonish costumed Boy Scout…

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

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

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

The mayhem and mystery begin with a book-length epic from Detective Comics #343 (September 1965) by John Broome, Carmine Infantino & Joe Giella, incorporating back up feature Elongated Man (a costumed sleuth who blended the charm of Nick “Thin Man” Charles with the outré heroic antics of Plastic Man) in ‘The Secret War of the Phantom General!’

This tense thriller pitted the hard-pressed heroes against a hidden army of gangsters and Nazi war criminals, whilst #344 introduced intellectual bandit Johnny Witts, ‘The Crime-Boss who was Always One Step Ahead of Batman!’ in a sharp duel of mentalities from Gardner Fox, Sheldon Moldoff & Giella.

The same creative team produced the epic shocker ‘The Decline and Fall of Batman’ in the 175th issue of his own titular magazine wherein fringe scientist Eddie Repp almost ended the Caped Crusaders’ careers by assaulting them with electronic ghosts, after which Detective #345 introduced a terrifying, tragic new villain in ‘The Blockbuster Invasion of Gotham City!’ (Fox, Infantino & Giella) as a monstrous giant with the mind of a child and the raw, physical power of a tank was constantly driven to madness at sight of Batman and only placated by the sight of Bruce Wayne…

Batman #177 opened with a Bill Finger, Moldoff & Giella puzzler, ‘Two Batmen Too Many’ complete with a pair of superhero guest-stars, after which ‘The Art Gallery of Rogues!’ by Broome, Moldoff & Sid Greene combined good-natured matchmaking with murderous burglary whilst ‘Batman’s Inescapable Doom-Trap!’ (Detective #346, Broome, Moldoff & Giella) highlighted the Caped Crimebuster’s escapology skills when a magician-turned-thief alpha-tested his latest stunt on the unwilling, unwitting hero.

‘The Strange Death of Batman!’ by Fox, Infantino & Giella in Detective # 347 saw the debut of habitual B-list villain the Bouncer in a bizarre experimental yarn which has to seen to be believed, whereas it was business as usual in the all-action Batman #178 where the ‘Raid of the Rocketeers!’ (Robert Kanigher, Moldoff & Giella) set the Gotham Gangbusters on the trail of jet-packed super-thugs whilst Broome, Moldoff & Greene began referencing the tone of the TV series in the light-hearted crime-caper ‘The Loan Shark’s Hidden Horde!’

Whilst ‘The Birdmaster of Bedlam!’, who hatched his first sinister scheme in Detective #349 (Kanigher, Moldoff & Giella) proved ultimately incapable of containing the Caped Crusaders, Batman #179 provided more of a challenge with ‘Clay Pigeon for a Killer!’ (Kanigher, Moldoff & Greene – erroneously credited as Giella here) finding Batman using a television “Most Wanted” show to trap a murderer beyond the reach of the law and ‘The Riddle-less Robberies of the Riddler!’ by Broome Moldoff & Giella, fully recreating the modern Prince of Puzzlers. The felon discovered he could not escape or defy the obsessive psychological compulsion which prevented him from committing crimes unless he sent clues to Batman, but sadly even when Eddie Nigma cheated, the Masked Manhunter kept solving the riddles…

The microcephalic man-brute who hated Batman returned when ‘The Blockbuster Breaks Loose!’ in a blistering, action-fuelled thriller by Fox, Infantino & Giella (Detective #349) which also hinted at the return of a long-forgotten foe, whilst ‘The Monarch of Menace!’ from #350 (Kanigher, Moldoff & Giella), introduced the greatest criminal in the world, who started well but inevitably fell to the Gotham Gangbuster’s indomitable persistence.

Batman #180 introduced the uncanny Death-Man in ‘Death Knocks Three Times!’ Kanigher’s best tale of this era and an early indication of the Caped Crusaders eerie potential (illustrated by Moldoff & Giella) after which Detective #351 premiered game-show host turned felonious impresario Arthur Brown in ‘The Cluemaster’s Topsy-Turvy Crimes!’ by Fox, Infantino & Greene.

‘Beware of… Poison Ivy!’ in Batman #181 introduced the deadly damsel to the Caped Crusader’s Rogues Gallery, but in this tale she was a mere criminal boss using sex as her weapon to split up the Dynamic Duo and defeat rival villainess in a sly tale from Kanigher, Moldoff & Giella. Following a spiffy, iconic pin-up courtesy of Infantino & Murphy Anderson comes a superb Mystery Analysts of Gotham City shocker ‘The Perfect Crime… Slightly Imperfect!’, by Fox, Moldoff & Greene whilst Detective #352 featured Broome, Moldoff & Giella’s ‘Batman’s Crime Hunt A-Go-Go!’, wherein the Gotham Guardian hit an incredible hot-streak, repeatedly catching criminals in the act with incredible lucky hunches. Of course, there’s no such thing as luck and sinister stage mentalist Mr. Esper was manipulating the crime-busting campaign for his own sinister ends…

After another stunning Infantino & Anderson Batman pin-up the action continues with ‘The Weather Wizard’s Triple-Treasure Thefts!’ (Fox, Infantino & Giella) in #353 which pitted the Dynamic Duo in spectacular opposition to the Flash’s arch enemy: one of the first times a DC villain moved out of his usually stamping grounds. Batman #183 opened with ‘A Touch of Poison Ivy‘ (Kanigher, Moldoff & Giella) as the seductive siren tried once again to turn the Caped Crusader’s head before the excellent “fair-play” mystery ‘Batman’s Baffling Turnabout!’ saw Gardner Fox challenge the readers to deduce what could turn the hero against a bewildered Boy Wonder…

‘No Exit for Batman’ (Detective #354, by Broome Moldoff & Giella) introduced bloodthirsty oriental fiend Dr. Tzin-Tzin in a bruising all-action tale, before Fox’s ‘Mystery of the Missing Manhunters!’ generated one of the most memorable covers of the decade for Batman #184 and the back-up Robin solo tale ‘The Boy Wonder’s Boo-Boo Patrol!’ (Fox, Chic Stone & Sid Greene) showed the lad’s sheer potential in a clever tale of thespian skulduggery and smart conundrum solving.

Detective #355 once more highlighted our hero’s physical prowess as well as deductive capabilities in the blistering ‘Hate of the Hooded Hangman!’ (Broome, Infantino & Giella), after which the extended duel with a mutant mastermind culminated in ‘The Inside story of the Outsider!’ and the resurrection of faithful retainer Alfred in a classic confrontation by Fox, Moldoff & Giella from Detective Comics #356.

Batman #186 featured the Clown Prince of Crime in possibly his most innocuous exploit ‘The Joker’s Original Robberies’ as Broome, Moldoff & Giella, tried to out-Camp the TV show, but ‘Commissioner Gordon’s Death-Threat!’ (written by Fox) put the artists’ talents to far better use in a terse and compelling kidnap thriller. Broome redeemed himself in Detective #357 with the clever secret identity saving puzzler ‘Bruce Wayne Unmasks Batman!’ (Infantino & Giella).

Batman #188 featured ‘The Eraser Who Tried to Rub Out Batman!’ (Broome, Moldoff & Giella) and the decidedly sharper and less silly murder-mystery ‘The Ten Best-Dressed Corpses in Gotham City!’ by Fox, Moldoff & Greene after which this collection concludes on a note of psychological intrigue as Detective #358 described ‘The Circle of Terror’ (Broome, Moldoff & Giella) wherein the Masked Manhunter was progressively driven to the edge of madness by Op Art maestro the Spellbinder.

With covers by Infantino, Gil Kane, Murphy Anderson and Joe Kubert, pin-up extras, frequent reprint compendiums and lots of cross-pollination with the TV series, DC were pulling out all the stops to capitalise on the screen exposure and ensure the comic buying public got their 12¢ worth, but the most effective tool in the arsenal was always the sheer variety of the stories.

The bulk of the yarns reprinted here are thefts, capers and sinister schemes by heist men, murderers, would-be world-conquerors and mad scientists and I must say it is a joy to see these once-common staples of comic books in action again. You can have too much psycho-killing, I say, and just how many alien races really and truly can be bothered with our poxy planet – or our women?

And yes, there are one or two utterly daft escapades included here, but overall this book is a magical window onto a simpler time but not burdened by simpler fare. These Batman adventures are tense, thrilling, engrossing, engaging and even amusing and I’d have no qualms giving them to my niece or my granny.

Tune and become a proper Bat-fan.

© 1965, 1966, 2007 DC Comics. All Rights Reserved.

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Showcase Presents Batman volume 1

New revised Review

By John Broome, Gardner Fox, Ed Herron, Carmine Infantino, Sheldon Moldoff Joe Giella & various (DC Comics)
ISBN13: 978-1-4012-1086-1

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

If so, this collection might be the book you want next time that confrontation occurs. Collected here in incontrovertible black-and-white are tales which reshaped the Dynamic Duo and set them up for global Stardom – and subsequent fearful castigation from fans – as the template for the Batman TV show of the 1960s. It should be noted, however, that the producers and researchers got their creative impetus from the stories of the era preceding the “New Look Batman” as well as the original movie serial of the 1940s…

So what have we here?

By the end of 1963, Julius Schwartz had revived much of DC’s line – and the entire industry – with his modernization of the Superhero, and was asked to work his magic with the creatively stalled and nigh-moribund Caped Crusader. Bringing his usual team of top-notch creators with him, Schwartz stripped down the core-concept, downplaying all the aliens, outlandish villains and daft transformation tales, bringing a cool modern take to the capture of criminals and even 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 re-entered the comfortable and absurdly abstract world of Gotham City. This initial cheap ‘n’ cheerful Showcase Presents… compendium collects the Bat-Sagas from Detective Comics #327-342 (cover-dated May 1964 to August 1965) and Batman #164-174 (June 1964-September 1965) – 38 stunning stories that reshaped a legend.

The revolution began with the lead yarn in Detective #327, written by John Broome, illustrated by Carmine Infantino and Joe Giella at the very peak of their creative powers, before being fully formalised in two tales in Batman #164.

‘The Mystery of the Menacing Mask! was a cunning “Howdunnit?” that was long on action and peril, as a criminal “underground railroad” led the Caped Crusaders to a common thug who seemed able to control the heroes with his thoughts. The venerable title was clearly refocusing on its descriptive, evocative title for the foreseeable future and to ram the point home a new back-up feature was introduced, “The Stretchable Sleuth” Elongated Man. This comicbook was to be a brain-teaser from now on…

In Batman, action and adventure were paramount. ‘Two-Way Gem Caper!‘ pitted Batman and Robin against a slick criminal named Dabblo, but the villain wasn’t the star of this tale. Almost as an aside, a new Batcave and refashioned Wayne Manor were introduced, as well as a sleek, compact new Batmobile; more sports-car than super-tank.

This story was written by Ed “France” Herron and drawn by “Bob Kane”. Veteran inker Giella was tasked with finishing the contents of all Bat-books in a bid to generate a recognisable uniformity in the stories.

A new semi-regular feature also debuted in that issue. The Mystery Analysts of Gotham City was a club of Detectives and crime-writers who met to talk about their cases. It always resulted in an adventure like ‘Batman’s Great Face-Saving Feat!’ (Herron & Kane) wherein eager applicant Hugh Rankin applied his Private Eye talents to discovering the Gotham Gangbuster’s true identity to win a seat at the sleuths’ table. Suffice it to say he had to reapply…

‘Gotham Gang Line-Up!’ completed the transformation of Batman. Written by original co-creator Bill Finger and pencilled by Kane, this mediocre crime-caper from Detective #328 is most remarkable for the plot-twist wherein long-serving butler Alfred sacrificed his life to save the heroes; prompting Dick Grayson’s Aunt Harriet to move into Wayne Mansor.

From this point the adventures fell into a pattern of top-of-the-line tales punctuated by utterly exceptional occasional epics of drama, mystery and action. These would continue until the infamous TV show’s success became so great that it actually began to inform – or taint – the kind of story in the comics themselves. And while I’m into editorial asides: whenever the credits read “Bob Kane” the artist usually doing the drawing was unsung hero Sheldon Moldoff…

‘Castle with Wall-To-Wall Danger!’ (Detective #329), written by Broome and pencilled by Infantino, was a captivating international thriller which found the heroes braving a deadly death-trap in Swinging England in pursuit of a dastardly thief, whilst eerie science fiction saga ‘Man Who Quit the Human Race!’ (Gardner Fox, Kane & Giella) which led in Batman #165 proved that fantastic fantasy still had a place in the Gotham Guardian’s world.

A potential new love-interest was introduced in the back-up tale, ‘The Dilemma of the Detective’s Daughter!’, courtesy of Herron & Kane, as student police women Patricia Powell left cop-college and hit the mean streets of the city. Over in Detective #330, Broome & “Kane” detailed a new kind of crime in ‘The Fallen Idol of Gotham City!’ wherein a mysterious phenomenon turned ordinary citizens into blood-hungry mobs on command. In Batman #166, ‘Two-Way Deathtrap!’ saw a couple of petty thugs set up the perfect ambush after finding a pipeline into the Batcave whilst ‘A Rendezvous with Robbery!’ featured a return engagement for Pat Powell during a frantic crime caper: both tales from Herron & Kane.

A rare full-length story in Detective #331 guest-starred Elongated Man as the ‘Museum of Mixed-Up Men’ (Broome & Infantino) teamed the Costumed Sleuths against a super-scientific felon, after which a Rogues Gallery super-villain finally appeared in ‘The Joker’s Last Laugh’ (Broome & “Kane”) in #332, utterly set on switching places with the Caped Crimebusters in his own manic manner…

Batman #167 presaged a ‘Zero Hour for Earth!’ (Finger & Kane) as international espionage pulled the Dynamic Duo from Gotham into a global manhunt for secret society Hydra whilst Detective #333 pitted the heroes against a faux goddess and real telepaths in the‘Hunters of the Elephants’ Graveyard!’, written by Fox and illustrated by Infantino.

‘The Fight That Jolted Gotham City! opened Batman #168 with a blockbusting battle between the Masked Manhunter and temporarily deranged circus strongman Mr. Muscles and the Mystery Analysts resurfaced to close the book by explaining ‘How to Solve the Perfect Crime… in Reverse!’ (both tales by Herron & Moldoff).

The opening shot in an extended war against an incredible new foe dubbed The Outsider began in Detective #334 with the introduction of Grasshopper… ‘The Man Who Stole from Batman!’ (Fox & Moldoff), whilst ‘Trail of the Talking Mask!’ by Fox & Infantino in #335 gave the Dynamic Due an opportunity to reinforce their sci-fi credentials in a classy high-tech thriller guest starring PI Hugh Rankin.

Wily, bird-themed bad-man The Penguin returned in Batman #169 to make the Caped Crusaders his unwilling ‘Partners in Plunder!’ (Herron & Moldoff) after which inker Sid Greene made his debut delineating ‘A Bad Day for Batman!’, in which our hero overcame many vicissitudes of cruel coincidence to nab a determined thief.

Detective #336 (Fox, Moldoff & Giella) featured ‘Batman’s Bewitched Nightmare’ and found a broom-riding crone attacking the Dynamic Duo at the Outsider’s behest. In later months the witch was revealed to be sultry sorceress Zatanna, but most comics cognoscenti agree this was not the original plan, but rather cannily back-written during the frantic months of “Batmania” that followed the debut of the TV show (for a fuller explanation check out JLA: Zatanna’s Search).

An intriguing new foe made his mark in Batman #170 when highly professional thief Roy Reynolds ran rings around the Gotham Gangbusters – at least at first – as the ‘Genius of the Getaway Gimmicks!’ (Fox & Moldoff) and Bill Finger provided a captivating, human-scaled drama in ‘The Puzzle of the Perilous Prizes!’ which enabled Joe Giella to show off his pencilling as well as inking skills.

‘The Deep-Freeze Menace!’ (Detective #337 by Fox & Infantino) was a captivating fantasy chiller pitting Batman against a super-powered caveman encased in ice for 50,000 years, whilst the caped crime-buster gained his own uncanny advantage in #338 after a chemical accident threatened to make ‘Batman’s Power-Packed Punch!’ too dangerous to be near…

After an absence of decades ‘Remarkable Ruse of The Riddler!’ reintroduced the Prince of Puzzlers in Batman # 171; a clever book-length mystery from Fox & Moldoff which did much to catapult the previously forgotten villain to the first rank of Bat-Baddies, after which DC’s inexplicable (but deeply cool) long-running love-affair with gorillas resulted in a cracking doom-fable as ‘Batman Battles the Living Beast-Bomb!’ (Fox & Infantino in Detective #339) highlighted the hero’s physical prowess in a duel of wits and muscles against a sinister super-intelligent simian.

Broome returned to script the eerie conundrum drawn by Moldoff which led in Batman #172. ‘Attack of the Invisible Knights!’ proved to be wicked science not ancient magic, whilst Batman’s own technological advances played a big part in the backup ‘Robin’s Unassisted Triple Play!’ (Fox, Moldoff & Greene), which gave the Boy Wonder plenty of scope to show off his own crime-busting skills against a murderous gang of bandits.

Detective #340 saw the long-running war against Batman escalate when ‘The Outsider Strikes Again!’ (Fox & Moldoff), giving further clues to the hidden foe’s incredible abilities by animating everyday objects – and even the Batmobile – to attack the Caped Crusaders, after which Broome & Infantino detailed the cinema-inspired, catastrophic campaign of ‘The Joker’s Comedy Capers!’ in #341.

Criminal mastermind and blackmailer Mr. Incognito offered ‘Secret Identities For Sale’ in the first tale of Batman #173, after which creators Broome and Moldoff were joined by inker Sid Greene for ‘Walk Batman – To Your Doom!’; a sinister psychological murder-plot years ahead of its time.

‘The Midnight Raid of the Robin Gang!’ (Broome & Moldoff) in Detective #342, hinted at the burgeoning generational unrest of the 1960s as the faithful Boy Wonder seemed to sabotage his mentor before signing up with a pack of costumed juvenile delinquents, and this first collection of Caped Crusader Chronicles concludes with the all Fox & Moldoff Batman #174: starting with a brutal story of street-fighting as the Gotham Guardian was ambushed and became ‘The Human Punching Bag!’ before the Mystery Analysts found themselves the intended victims of a “Ten Little Indians” murder-scheme in ‘The Off-Again, On-Again Lightbulbs!’ (inked by Greene).

No matter how much we might squeal and foam about it, to a large portion of the world Batman is always going to be the “Zap! Biff! Pow!”, affably lovable, caped buffoon of that 1960s television show. It really was that popular.

But whether you tend towards the anodyne light-heartedness of then, the socially acceptable psychopathy of the current movie franchise or actually just like the comicbook character, if you can make a potential convert sit-down, shut up and actually read these wonderful adventures for all (reasonable) ages, you might find that the old adage “Quality will out” still holds true. And if you’re actually a fan who hasn’t read this classic stuff, you have an absolute treat in store…
© 1964, 1965, 2006 DC Comics. All Rights Reserved.

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Showcase Presents Metamorpho, the Element Man


By Bob Haney, Ramona Fradon, Joe Orlando, Sal Trapani, Charles Paris & various (DC Comics)
ISBN: 978-1-4012-0762-5

By the time Metamorpho, the Element Man was introduced to the costumed hero-obsessed world the first vestiges of a certifiable boom were just becoming apparent. As such the light-hearted, almost absurdist take struck a right-time, right-place chord, blending far out adventure with tongue-in-cheek comedy.

The character debuted in Brave and the Bold #57 (December 1964-January 1965) and after a follow-up try-out in the next issue catapulted into his own title for an eclectic and oddly engaging 17-issue run. This canny monochrome compendium collects all those eccentric adventures plus team-up tales from Brave and the Bold #66 and 68 and Justice League of America #42

Unlike most of these splendid Showcase editions the team-up stories here are not re-presented in original publication order but closeted together at the back, so if stringent continuity is important to you the always informative credit-pages will enable to navigate the wonderment in the correct sequence…

‘The Origin of Metamorpho’ written by Bob Haney (who created the character and wrote everything except the JLA story) with art from Ramona Fradon & Charles Paris, introduced glamorous he-man Soldier of Fortune Rex Mason, who worked as a globe-trotting artefact procurer and agent for ruthlessly acquisitive scientific genius/business tycoon Simon Stagg. Mason was obnoxious and insolent but his biggest fault as far as his boss was concerned was that the mercenary loved and was loved by the millionaire’s only daughter Sapphire…

Determined to rid himself of Mason, Stagg dispatched him to retrieve a fantastic artefact dubbed the Orb of Ra from the lost pyramid of Ahk-Ton in Egypt, accompanied only by Java, a previously fossilised Neanderthal corpse Rex had discovered in a swamp and which (whom?) Stagg had restored to full life. Mason planned to take his final fabulous fee and whisk Sapphire away from her controlling father forever…

Utterly faithful to the scientific wizard, Java sabotaged the mission and left Mason to die in the tomb, victim of an ancient, glowing meteor. The man-brute rushed back to his master, carrying the Orb and fully expecting Stagg to honour his promise and give him Sapphire in marriage.

Trapped, knowing his time had come; Mason swallowed a suicide pill as the scorching rays of the star-stone burned through him…

Rex did not die but mutated into a ghastly chemical freak capable of shape-shifting and transforming into any of the elements or compounds that comprised the human body: carbon, hydrogen, oxygen, calcium, iron, cobalt and so many others…

Hungry for vengeance, Mason followed and confronted his betrayers but was overcome by the alien energies of the Orb of Ra. An uneasy détente was declared as Mason accepted Stagg’s desperate offer to cure him …if possible.

The rich man was further horrified when Rex revealed his condition to Sapphire and found she still loved him. Totally unaware of Stagg’s true depths of duplicity, Mason began working for the tycoon as a metahuman problem-solver: Metamorpho, the Element Man.

Brave and the Bold #58 (February-March 1965) revealed more of Stagg’s closeted skeletons when old partner Maxwell Tremayne kidnapped the Element Man and later abducted Sapphire in ‘The Junkyard of Doom!’ The deranged armaments manufacturer was once intimately acquainted with the girl’s mother and never quite got over it…

The tryout comics were an unqualified success and Metamorpho promptly debuted in his own title, cover-dated July-August 1965 just as the wildly tongue-in-cheek “High Camp” craze was catching on in all areas of popular culture; blending ironic vaudevillian kitsch with classic movie premises as theatrical mad scientists and scurrilous spies began to appear everywhere.

‘Attack of the Atomic Avenger’ saw nuclear nut-job Kurt Vornak try to crush Stagg Industries only to be turned into a deadly, planet-busting radioactive super-atom, whilst ‘Terror from the Telstar’ pitted the charismatic cast against Nicholas Balkan, a ruthless criminal boss determined to sabotage America’s Space program.

Mad multi-millionaire T.T. Trumbull used his own daughter Zelda to get to Simon Stagg through his heart (accidentally proving to everyone who knew him that the old goat actually had one) as part of his attempt to seize control of America in ‘Who Stole the U.S.A.?’ but the ambitious would-be despot backed up the scheme with an incredible robot specifically designed to destroy Metamorpho. Happily Rex Mason’s guts and ingenuity proved more effective than the Element Man’s astonishing powers…

America saved, the dysfunctional family headed South of the Border becoming embroiled in ‘The Awesome Escapades of the Abominable Playboy’ as Stagg tried to marry Sapphire off to Latino Lothario Cha Cha Chavez. The wilful girl thought she was just making Mason jealous and had no idea of her dad’s true plans and Stagg senior had no conception of Chavez’s real intentions or connections to the local tin-pot dictator…

With this issue the gloriously stylish Ramona Fradon left the series to be replaced by two artists who strove to emulate her unique manner of drawing with varying degrees of success. Luckily veteran inker Charles Paris stayed on to smooth out the rough edges…

First up was E.C. veteran Joe Orlando whose two issue tenure began with the outrageous doppelganger drama ‘Will the Real Metamorpho Please Stand Up?’ wherein eccentric architect Edifice K. Bulwark tried to convince Rex Mason to lend his abilities to his chemical skyscraper project. When Metamorpho declined Bulwark and Stagg decided to create their own Element Man… with predictably disastrous consequences.

‘Never Bet Against an Element Man!’ (#6 May-June 1966) took the team to the French Riviera as gambling grandee Achille Le Heele snookered Simon Stagg and won “ownership” of Metamorpho. The Creepy Conchon’s ultimate goal necessitated stealing the world’s seven greatest wonders (such as the Taj Mahal and Eiffel Tower) and only the Element Man could make that happen…

Sal Trapani took over the pencilling with #7’s ‘Terror from Fahrenheit 5,000!’ as the acronymic super-spy fad hit hard and Metamorpho was enlisted by the C.I.A. to stop suicidal maniac Otto Von Stuttgart from destroying the entire planet by dropping a nuke into the Earth’s core, whilst costumed villain Doc Dread could only be countered by an undercover Metamorpho becoming ‘Element Man, Public Enemy!’ in a diabolical caper of doom and double-cross…

Metamorpho #9 moved into the realm of classic fantasy when suave and sinister despot El Mantanzas marooned the cast in ‘The Valley That Time Forgot!’ to battle cavemen and antediluvian alien automatons before a new catalysing element was added in ‘The Sinister Snares of Stingaree!’ with the introduction of Urania Blackwell – a secret agent who had somehow been transformed into an Element Girl with all Metamorpho’s incredible abilities. Not only was she dedicated to eradicating evil such as the criminal cabal Cyclops, but Urania was also the perfect paramour for Rex Mason… he even cancelled his wedding to Sapphire to go gang-busting with her…

With a new frisson of sexual chemistry sizzling beneath the surface, ‘They Came From Beyond?’ found the conflicted Element Man battling an apparent alien invasion whilst ‘The Trap of the Test-Tube Terrors!’ saw another attempt to cure Rex Mason of his unwanted powers allow mad scientist Franz Zorb access to Stagg Industry labs long enough to build an army of chemical horrors.

The plot thickened with Zorb’s theft of a Nucleonic Moleculizer, prompting a continuation in #14 wherein Urania was abducted only to triumphantly experience ‘The Return From Limbo’…

Events and stories grew increasingly outlandish and outrageous as the TV superhero craze intensified and ‘Enter the Thunderer!’ (#14, September-October 1967) saw Rex pulled between Sapphire and Urania as the extraterrestrial Neutrog terrorised the planet in preparation for the awesome arrival of his mighty mutant master. The next instalment heralded an ‘Hour of Armageddon!’ as the uniquely menacing Thunderer assumed control of Earth until boy genius Billy Barton assisted the Elemental defenders in defeating the mutant horror.

Trapani inked himself for Metamorpho #16; an homage to H. Rider Haggard’s “She” wherein ‘Jezeba, Queen of Fury!’ changed the Element Man’s life forever. When Sapphire Stagg married playboy Wally Bannister, the heartbroken Element Man undertook a mission to find the lost city of Ma-Phoor. Here he encountered an undying beauty who wanted to conquer the world and just happened to be Sapphire’s exact double.

Moreover the immortal empress of a lost civilisation had once loved an Element Man of her own: a Roman named Algon who had been transformed into a chemical warrior two millennia previously. Believing herself reunited with her lost love Jezeba finally launched her long-delayed attack on the outside world with disastrous, tragic consequences…

The strangely appetising series came to a shuddering and unsatisfactory halt with the next issue as the superhero bubble burst and costumed comic characters suffered their second recession in fifteen years. Metamorpho was one of the first casualties, cancelled just as (or perhaps because) the series was emerging from its quirky comedic shell with the March-April 1968 issue.

‘Last Mile for an Element Man!’, illustrated by Jack Sparling, saw Mason tried and executed for the murder of Wally Bannister, resurrected by Urania Blackwell and set on the trail of true killer Algon. Along the way Mason and Element Girl uncovered a vast, incredible conspiracy and rededicated themselves to defending humanity at all costs. The tale ended on a never-resolved cliffhanger: when Metamorpho was revived a few years later no mention was ever made of these last game-changing issues…

The elemental entertainment doesn’t end here though as this tome somewhat expiates the frustrating denouement with three terrific team-up tales beginning with Brave and the Bold #66 (June-July 1966) ‘Wreck the Renegade Robots’ as a mad scientist usurped control of the Metal Men just as their creator Will Magnus was preoccupied turning Metamorpho back into an ordinary mortal.

Two issues later (B& B #68October-November 1966) the still Chemically Active Crime-buster was battling the Penguin, Joker and Riddler as well as a fearsomely mutated Caped Crusader in the thoroughly bizarre ‘Alias the Bat-Hulk!’ – both tales courtesy of Haney, Mike Sekowsky & Mike Esposito.

Sekowsky also drew the last story in this volume. Justice League of America #42 (February 1966) had the hero join the World’s Greatest Superheroes to defeat a cosmic menace deemed “the Unimaginable”. The grateful champions instantly offered him membership but were surprised when and why ‘Metamorpho Says… No!’ in a classic adventure written by Gardner Fox and inked by Bernard Sachs.

The wonderment finally subsides after a lovely pin-up of the Element Man and his core cast by Fradon and Paris.

Individually enticing, always exciting but oddly frustrating in total this book will delight readers who aren’t too wedded to cloying continuity but simply seek a few moments of casual, fantastic escapism.
© 1965-1967, 2005 DC Comics. All Rights Reserved.

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Showcase Presents Batgirl volume 1


By Gardner Fox, Carmine Infantino, Gil Kane, Don Heck & various (DC Comics)
ISBN: 978-1-4012-1367-1

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 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 Flash officially ushered in the Silver Age of American comicbooks) the editorial powers-that-be introduced heiress Kathy Kane, who sporadically suited-up in chiropteran red and 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…

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

Whereas in her small screen premiere she pummeled the Penguin, her funnybook 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 long-awaited monochrome celebration of the brief but stellar career 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 and Greene) was a full co-starring vehicle as the new girl was challenged to deduce Batman’s secret identity whilst tracking down enigmatic criminal genius Mr. Brains, after which she teamed-up with the Girl of Steel in World’s Finest Comics #169 (September 1967) wherein the uppity 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, illustrated by Infantino and Greene, somewhat reinforced boyhood prejudices about icky girls in the 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!’ by Fox, Frank Springer and Greene. This frankly daft tale is most fondly remembered for the classic cover of Batgirl and Catwoman (with Whip!!!) squaring off over Batman’s prone body – comic fans have a psychopathology all 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 #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 tome if you think I’m kidding.

Batgirl next surfaced in Justice League of America #60, February 1968, wherein the team barely survived a return match with alien invader Queen Bee and were temporarily transformed into ‘Winged Warriors of the Immortal Queen!’ (by Fox, Mike Sekowsky & Greene whilst in the June-July The Brave and the Bold (#78) Bob Brown stepped in to draw her in for Bob Haney’s eccentric crime-thriller ‘In the Coils of the Copperhead’ wherein Wonder Woman found herself vying with the fresh young thing for Batman’s affections. Of course it was all a cunning plan… wasn’t it?

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 whilst artists Neal Adams & Dick Giordano began revolutionising how comics looked with their moody, exciting hyper-realistic renderings.

Although Barbara Gordon cropped 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 finally debuted in 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 a run of human-scaled crime dramas with what all the (male) scripters clearly believed was a strong female slant as in this yarn wherein librarian Babs developed a crush on a frequent borrower just before he inexplicably vanished.

Batgirl investigated and ran into a pack of brutal thugs before solving the mystery in the second part, ‘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 skills as she went undercover and was largely at odds with the Maid of Steel whilst exposing ‘The Supergirl Gang’ in a tense thriller by Bates & Win Mortimer. Batgirl shared the second slot with Robin in alternating adventures, so she next appeared in Detective #388 which welcomed aboard newspaper strip veteran Frank Robbins to script ‘Surprise! This’ll Kill You!’ a sophisticated bait-and-switch caper which saw Batgirl impersonate herself and almost pay with her life for another girl’s crimes. Spectacularly illustrated by Kane & Anderson the strip had expanded from eight to ten pages but that still wasn’t enough and the breathtaking thrills spilled over into a dramatic conclusion in ‘Batgirl’s Bag of Tricks!

Although the 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 set 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 could redeem this peculiar throwback – although the art rather does…

‘A Clue… Seven-Foot Tall!’ (from Detective #392, October 1969, by Robbins, Kane & Anderson) was another savvy contemporary crime-saga which also introduced 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 sparred and joined forces to solve a brutal murder in the world of professional basketball.

In issues #396 and 397 (February and March 1970) Batgirl faced the very modern menace of what we’d now call a psycho-sexual serial killer in the chilling and 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 that referenced the political and social unrest then plaguing US campuses, but which still found space to be smart and action-packed as well as topical before the chilling 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 became ‘The Living Statue!’

In ‘The Explosive Circle!’ (#406, with Colletta back to ink) the topic du jour was gentrification as property speculation ripped 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 embroiled 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’ immensely clever ‘Battle of the Three “M’s”’ (that’s mini, midi and maxi to you straights out there) proved to be one of the most compelling and clever tales of the entire run as a trendsetting celebrity found herself the target of 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 reunited 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!’

A cop-killing had torn apart the city and Babs’ father Commissioner Jim Gordon was taking it badly in ‘The Deadly Go-Between!’, but militant radicals weren’t the only threat as seen in the concluding episode ‘A Bullet For Gordon!’, which presaged a far greater role for the once-anodyne authority figure and leading to the character’s integral role in today’s Bat-universe.

Robbins and 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!’ saw 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 broker her heart and Babs decided to chuck it all in and run for Congress in ‘Candidate For Danger!’

Detective Comics #424 (June 1972) featured ‘Batgirl’s Last Case’ as “Battlin’ Babs” overturned a corrupt political machine and shuffled off to DC, leaving Jason to manage on his own, but that wasn’t quite the end of her 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, Curt Swan & Bob Oksner and 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 from Superman Family #171 (June/July 1975) wherein a distant descendent of the Empress of the Nile used magic to become ‘Cleopatra, Queen of America’ overwhelming even Superman and the Justice League before the Cape and Cowl Cuties finally lowered 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 enthralls. This is no girly comic but a full-on thrill ride you can’t afford to ignore…
© 1967-1975, 2007 DC Comics. All Rights Reserved.

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Batman Beyond


By Hilary J. Bader, Rich Burchett, Joe Staton & Terry Beatty (DC comics)
ISBN: 978-1-56389-604-0

The Batman Animated TV series masterminded by Bruce Timm and Paul Dini in the 1990s revolutionised the Dark Knight and also led to some of the absolute best comicbook adventures in his seventy-year publishing history with the tie-in monthly printed series. With the Dark Knight’s small screen credentials firmly re-established, follow-up series began (and are still coming), even recently feeding back into the overarching DCU continuity.

Following those award-winning cartoons in 1999 came a new incarnation set a generation into the future, featuring Bruce Wayne in the twilight of his life and a new teenaged hero picking up the eerily-scalloped mantle. In Britain the series was inspirationally re-titled Batman of the Future but for most of the impressed cognoscenti and awe-struck kids everywhere it was Batman Beyond!

Once again the show was augmented by a cool kid’s comicbook and this collection re-presents the first 6-issue miniseries in a hip and trendy, immensely entertaining package suitable for fans and aficionados of all ages. Although not necessary to the reader’s enjoyment, a passing familiarity with the TV episodes will enhance the overall experience…

All stories are written by Hilary J. Bader and the book opens with a two part adaptation of the pilot episode, illustrated by Rick Burchett & Terry Beatty. ‘Not On My Watch!’ offers brief glimpses of the last days of Batman’s crusade against crime before age, infirmity and injury slow him down to the point of compromising his principles and endangering the citizens he’s sworn to protect.

Years later Gotham City in the mid-21st century (notionally accepted as 2039AD – 100 years after the comic book debut of Batman in Detective Comics #27) is a dystopian urban jungle where angry, rebellious school-kid Terry McGinnis strikes a blow against pernicious street-punks The Jokerz and is chased out of the metropolis to the gates of a ramshackle mansion.

Meanwhile his research-scientist father has discovered too much about the company he works for…

Wayne-Powers used to be a decent place to work before old man Wayne became a recluse. Now Derek Powers runs the show and is ruthless enough to do anything to increase his profits… Outside town Terry is saved from a potentially fatal encounter with the Jokerz by a burly old man who then collapses. Helping the aged Bruce Wayne inside the mansion Terry discovers the long neglected Batcave before being chased away by the surly Wayne but doesn’t really care until he gets home to find his father has been murdered…

A storm of mixed emotions, he returns to Wayne Manor…

The concluding chapter ‘I Am Batman’ sees McGinnis attempt to force Wayne to act before giving up in frustration and stealing the hero’s greatest weapon; a cybernetic bat-suit that enhances strength, speed, durability and perception. Alone, untrained and unaided the new Batman sets to exact justice and revenge…

In the ensuing clash with Powers the unscrupulous entrepreneur is mutated into a radioactive monster named Blight before Wayne and Terry reach a tenuous truce and understanding. For the moment Terry will continue to clean up the Dark Knight’s city as a probationary, apprentice hero…

With issue #3 Bader, Burchett & Beatty began to tell original stories in the newly established future Gotham, commencing with ‘Never Mix, Never Worry’ wherein Blight returns to steal a selection of man-made radioactive elements which can only be used to cause harm… or can they?

Joe Staton took over the pencilling with #4 as a schoolboy nerd freed a devil from limbo and old man Wayne introduced the cocksure Terry to parapsychologist Jason Blood and his eldritch alter ego Etrigan the Demon in the spooky shocker ‘Magic Is Everywhere’, a sentiment repeated when a school-trip to the museum unleashed ancient lovers who fed on the life energy in the delightfully comical tragedy of ‘Mummy, Oh! and Juliet’

This captivating compendium of action and adventure ends in another compelling and edgy thriller as Terry stumbles into a return bout with a shape-shifting super-thief in ‘Permanent Inque Stains’, only to find that there are far worse crimes and far more evil villains haunting his city…

Fun, thrilling and surprisingly moving, these tales are magnificent examples of comics that appeal to young and old alike and are well overdue for re-issue. And once that’s done, there’s still another 24 issues from the 1999-2001 run plus a Return of the Joker one-shot to collect in spiffy graphic novel compilations…

In 2000 Titan Books released a British edition re-titled Batman of the Future (to comply with the renamed UK TV series) and this version is a little easier to locate by those eager to enjoy the stories rather than own an artefact.
© 1999 DC Comics. All Rights Reserved.

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Robin/Batgirl: Fresh Blood


By Bill Willingham, Andersen Gabrych, Damion Scott, Alé Garza & Jesse Delperdang (DC Comics)
ISBN: 987-1-84576-200-1

Batman has gathered young allies about him since the second year of his crusade: adopting waif and strays and training them to be the best that they can be, all for the greater good of his beloved Gotham City.

When Gotham City was devastated by an earthquake and abandoned by the US government (Batman: Cataclysm and Batman: No Man’s Land volumes 1-3), a few heroes stayed to protect the innocent. One of these was a new, mute incarnation of Batgirl.

The crisis ended and a semblance of normality returned to the battered metropolis. The new heroine, named Cassandra Cain, was brought under the wing of Barbara Gordon, wheelchair-bound crime-fighter Oracle (and the previous Batgirl) who now ran her own crew of women heroes – the Birds of Prey.

Cassandra, mute, unable to communicate in any manner yet fluent in reading gesture, posture and body-language, was raised as an experiment by her father, super-assassin David Cain. The hired killer had over-ridden her language centres to make combat her only method of expression. An apparent runaway, she was adopted by Batman as a weapon in his never-ending battle, but the more humane Oracle had become her guardian and teacher.

Cassandra’s brain and learning disabilities were subsequently alleviated by a telepath and the unbeatable martial artist was just beginning to carve out her own life when the War Games crisis made Gotham too hot for heroes…

Tim Drake was the third Robin, a child prodigy who deduced Batman’s secret identity and his impending guilt-fuelled nervous breakdown following the murder of Jason Todd – Robin #2. Drake attempted to manipulate Dick Grayson – the first boy hero to be dubbed “Boy Wonder” – into returning as the Dark Knight’s partner before grudgingly accepting the position himself (see Batman: A Death in the Family and Batman: A Lonely Place of Dying).

After a long period of training and acclimation Batman offered Tim the job instead, and this interpretation took fans by storm, securing a series of increasingly impressive solo mini-series (see Robin: A Hero Reborn) and eventually his own long-running comic book.

Being trained by Batman is clearly an arduous and agonising undertaking. During the terrifying Batman: Wargames saga Drake in his turn became estranged from his moody mentor and forcibly retired from the fights ‘n’ tights game. Batman replaced Tim with Stephanie Brown, daughter of the criminal Cluemaster, who became the vigilante Spoiler to compensate for her father’s depredations. Don’t get too excited though, since she only starred as the fourth Robin for a fraction over six pages…

Soon Tim was back – ‘though you won’t see how or why here – setting up on his own as defender of the nearby city of Blüdhaven – a mini-Metropolis that made Gotham look like paradise…

The slim volume collects monthly issues #132-133 of Robin and #58-59 of Batgirl, a canny crossover concoction entitled Fresh Blood that saw both newly emancipated and independent street warriors striking out on their own in the very heart of urban darkness. The drama opened with ‘Too Many Ghosts’ as Tim, still recovering from Stephanie’s death, cautiously planned his first anti-crime campaign.

With faithful family Butler Alfred in tow as mentor and quartermaster he had moved to Blüdhaven planning to methodically dismantle the city’s mob hierarchy, but had no inkling that deceased criminal-mastermind Blockbuster was seemingly returned from the dead. Whilst on his first reconnaissance run Robin was ambushed and almost killed by super-assassin Shrike until an unexpected ally stepped in…

‘Following Footsteps’ revealed how Cassandra Cain also set up in Blüdhaven to go it alone. Soon however she was working with Tim; her combat skills meshing perfectly with his strategic flair and deductive abilities. Establishing clandestine links with two of the few honest cops in town they planned to take down the returned Blockbuster, but discover a shocking secret in ‘The Auction’ and end up tackling one of Batman’s greatest and most insidious foes instead: a deadly and spectacular clash that they cannot possibly survive…

Na-aah, just kidding – of course they do: but the concluding chapter ‘Settling Up’ is probably one of the best and most satisfying fight-fests of that era, with assorted thugs, wise-guys and meta-threats Brutale and the Trigger Twins adding to the panorama of exotic carnage before the new kids in town triumph and carve up the territory between them: their incompatible approaches pulling them apart before they could really get together….

Where does the time go? It seems like only yesterday that these nifty little thrillers were the acme of the Batman franchise, but the pace of change in comics is relentlessly rapid and remorselessly unforgiving, so engaging little gems like this come and go like wisps of mist caught in a million candlepower bat-signal beam…

Nevertheless, the edgy, fresh scripting of Bill Willingham and Andersen Gabrych married to the unconventional but superbly effective art of Damion Scott, Alé Garza & Jesse Delperdang prove to be a heady and irresistible brew that delivers as much kick now as it ever did. This is a Bat-bunfight no fan could possibly bear to miss…

© 2005 DC Comics. All Rights Reserved.

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Batman: The Cult


By Jim Starlin & Bernie Wrightson, with Bill Wray (DC Comics)
ISBN: 978-0-93028-985-0

After the runaway success of The Dark Night Returns proved that fans wanted tales with darker, edgier heroes and would stump up big bucks to get them, the floodgates opened for miniseries released on expensive Baxter paper in book-like formats. DC quickly complied, following up with this deceptively effective thriller by two of the industry’s biggest fan-favourites: Jim Starlin and master of horror Bernie Wrightson, ably augmented by colour artist Bill Wray.

The story begins with ‘Ordeal’ as the Batman, experiencing mind-bending hallucinations and irresistible cravings to commit bloody slaughter, slowly awakes to the realisation that he has lost track of how long he has been a has been a prisoner of the army of hoboes and gutter-trash who have taken over Gotham City’s worst streets. They are being organised and led by a charismatic quasi-priest named Deacon Blackfire.

Moreover the dark messiah claims to be an immortal medicine man of the lost Miagani people who ruled the land before the White Men came…

Batman knows what Deacon is doing: using standard techniques developed by cult-leaders and spies to break down resistance. Pain, isolation, starvation and drugs are all employed to break down resistance and individuality: but he just can’t stop his iron resolve crumbling under the assault. It is more than any man can bear…

In flashbacks that heighten the aura of confusion, the story unfolds: the city’s worst predators were being found beaten or dead and the worst areas of the metropolis suddenly became safer to live in. But the good news soon took a dark turn. Fewer thugs were worked over and dumped but far more went missing with only bloodstains and silence to mark their passing. Batman followed the clues into the sewers… and wasn’t seen again.

Crime levels are down: thieves, pimps and muggers too scared to venture out. Commissioner Gordon and Robin know it’s too good to be true, but public opinion is hugely supportive of Deacon Blackfire’s campaign…

And deep underground the Dark Knight is crumbling as the army of derelicts find they have a taste for blood. Already their definition of what constitutes valid targets has slipped…

In ‘Capture’ the broken bat becomes one of Blackfire’s army but he balks at murder and instead escapes into the night, rambling and incoherent as he fights off the drugs and conditioning. When Blackfire moves to seize control of the entire city, assassinating police and officials, Batman is recaptured, but this time Robin follows him to the grim world of tunnels and terror. The dynamic duo make a break for freedom, but end up deeper underground and find horrifying proof of the depths of the Deacon’s terrible madness…

‘Escape’ sees the hobo army amok in the streets as Robin struggles to break the broken Batman out of the sewer citadel and Gordon finds impossible evidence that Deacon’s claims to immortality might not be spurious. However total anarchy has taken hold with citizens being casually murdered in their homes and when Gordon is gunned down the National Guard declares Martial Law. With Batman mentally incapacitated, when the military units are massacred the federal government pulls out, abandoning Gotham and its helpless population to Blackfire’s disciples…

With the situation hopeless Robin and Alfred can only wait to see if Bruce Wayne will ever be able to become Batman again. After a harrowing reexamination of his history and purpose, a determined, angry and far Darker Knight emerges with new tactics, harsher weapons and an unshakable hunger to destroy Blackfire and take back his city…

Batman: the Cult is a grim and powerful thriller that emphasises the psychological rather than physical or technical attributes of the most popular superhero in the world, but the saga is still packed with tension and suspense peppered with spectacular action set-pieces. Fierce, frenzied and ferociously fun, this is a long neglected slice of Batmania ripe for reappraisal.

© 1988, 2003, 2009 DC Comics. All Rights Reserved.