Category: Catwoman

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Showcase Presents Batman volume 4


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Harley Quinn: A Rogue’s Gallery – The Deluxe Cover Art Collection


By Bruce Timm, Terry & Rachel Dodson, Amanda Connor & Paul Mounts, Tim Sale, Jim Lee, Frank Cho, Alex Ross and many & various (DC Comics)
ISBN: 978-1-4012-7423-8 (HB/Digital edition)

Comic books aren’t just stories. So often the cover is as important and thrilling as the contents – if not more so. Let’s face it; we’ve all gone for something for its appearance only to be disappointed by its interior. So it’s a relief and a delight to thoroughly recommend a comic cover-art compilation where the visuals are as extraordinary as the material they were promoting.

Harley Quinn was never supposed to be a star – or even actual comics character. As soon became apparent, however, the manic minx always has her own astoundingly askew and off-kilter ideas on the matter – and any other topic you could name: ethics, friendship, ordnance, coffee, cuddle bunnies…

Created by Paul Dini & Bruce Timm, Batman: The Animated Series aired in the US from September 5th 1992 to September 15th 1995. Ostensibly for kids, the breakthrough television cartoon revolutionised everybody’s image of the Dark Knight and immediately began feeding back into the print iteration, consequently leading to some of the absolute best comic book tales in the Dark Knight’s many decades of existence.

Employing a timeless visual style dubbed “Dark Deco”, the show mixed elements from all iterations of the character and, without diluting the power, tone or mood of the premise, reshaped the grim avenger and his extended team into a universally accessible, thematically memorable form even the youngest of readers could enjoy, whilst adding exuberance and panache that only the most devout and obsessive Batmaniac could possibly object to…

Harley was initially the Clown Prince of Crime’s self-destructive, slavishly adoring, extreme abuse-enduring assistant, as seen in “Joker’s Favor” (airing September 11th 1992). She instantly captured the hearts and minds of millions of viewers and began popping up in the incredibly successful licensed comic book. Always stealing the show, Harley soon graduated into mainstream DC continuity. Along the circuitous way, Quinn – AKA Dr. Harleen Quinzel – developed a support network of sorts in living bioweapon Poison Ivy and a bizarre love/hate relationship with some of Gotham’s other female felons…

After a brief period bopping around the DCU, she was re-imagined as part of the company’s vast post-Flashpoint major makeover: subsequently appearing all over comics as cornerstone of a new iteration of the Suicide Squad, in those aforementioned movies and her own adult-oriented animation series. At heart, however, she’s always been a comic glamour-puss, with big, bold, primal emotions and only the merest acknowledgement of how reality works…

Harley Quinn: A Rogue’s Gallery – The Deluxe Cover Art Collection is a giant collection of some of the best comic covers from her first quarter century of existence spanning her first print appearance in Batman Adventures #12 (1993) to 2017: charting her progress from frolicsome cartoon felon to comic book big draw, movie magnate and all around gay icon.

Of course, you could just take my word for it and accept there are gathered here 170 fabulous eye-grabbing images (plus a few bonus sketches and such) by 92 stellar artists – mostly stripped of verbal clutter and text livery – but I suspect many will also study the huge shopping lists of names and numbers assembled below.

YOU DO NOT HAVE TO READ THEM – they are for obsessive completists like me, okay?

If you’re still here and not off shopping now, what’s here are the covers from Batman Adventures: Mad Love #1, Batman Adventures #12; Gotham Adventures #12;  Batman: Harley Quinn #1;  Harley and Ivy: Love on the Lam #1; Harley Quinn #1, 3, 4, 9, 11, 13, 19, 38; Batman Adventures #3, 16; Gotham Girls #3; Harley and Ivy#1-3; Detective Comics #831, 837; Batman #613; Joker’s Asylum II: Harley Quinn #1; Gotham City Sirens #1, 5, 15, 20; Gotham City Sirens Book II; Suicide Squad #1, 6, 7, 14, 15, 21; Detective Comics volume 2 #23.2, 39; Harley Quinn volume 2 #0-3, 6-9, 11-13, 15-19, 23, 24, 26, 29, 30; Harley Quinn Invades Comic-Con International: San Diego #1; Harley Quinn Holiday Special #1; Harley Quinn Valentine’s Day Special #1; Secret Six #5; Action Comics volume 2 #39; Aquaman volume 2 #39; Batgirl volume 4 #39; Batman volume 2 #39; Batman and Robin volume 2 #39; Batman/Superman #19; Catwoman volume 4 #39; The Flash volume 4 #39, 47; Grayson #7; Green Lantern volume 5 #39, 47; Green Lantern Corps volume 3 #39; Justice League volume 2 #39, 47; Justice League Dark volume 1 #39; Justice League United #9; Sinestro #10; Supergirl volume 6 #39; Superman volume 3 #39, 47, Superman/Wonder Woman #19; Teen Titans volume 4 #7; Wonder Woman volume 4 #39, 47; New Suicide Squad #4, 22; Green Arrow volume 5 #47; Justice League of America volume 3 #6; Harley Quinn and the Suicide Squad: April Fool’s Special #1; Harley Quinn and the Suicide Squad: April Fool’s Special #1; Harley Quinn and Her Gang of Harleys #1; DC Comics Bombshells #27, 32; Harley Quinn volume 4 #1, 4, 6, 10, 11, 13, 17-19, 21, 22; Harley’s Greatest Hits; Harley Quinn Volume 1: Die Laughing; Justice League Vs Suicide Squad #1, 3; Suicide Squad: Rebirth #1 and Suicide Squad volume 7 #1-2, 4, 8, 13, 16, 20.

These are chronologically delivered, fully listed and accredited on the contents pages, so I’m also going to list the creators in case someone’s a particular favourite. Represented here by single images or many bites of the cheery cherry are Bruce Timm, Mike Parobeck & Rick Burchett, Alex Ross, Shane Glines, Joe Chiodo, Terry Dodson & Rachel Dodson, Tim Sale, Scott Morse, Kelsey Shannon, Simone Biachi, Jim Lee & Scott Williams, Claudio Castellini, Guillem March, Ryan Benjamin, Paul Renaud, Ivan Reis, Eber Ferreira & Rod Reis, Greg Capullo & FCO Plascencia, Ken Lashley & Matt Yackley, Jason Pearson, Chris Burnham & Nathan Fairbairn, Amanda Connor & Paul Mounts, Dave Johnson, Alex Sinclair, Stephane Roux, Adam Hughes, Clay Mann, Tommy Lee Edwards, Mike Allred & Laura Allred, Ant Lucia, Darwin Cooke, Dan Panosian, Eduardo Risso, Ben Caldwell, Emanuela Lupacchino & Tomeu Morey, Chad Hardin, Neal Adams, Ryan Sook, Jeromy Cox, John Timms, Nicola Scott, Danny Miki, Cliff Chiang, Jill Thompson, J.G. Jones, Jim Balent, Mike McKone & Dave McCaig, Marco D’Alfonso, Dustin Nguyen, Joe Quinones, Mikel Janin, Ian Bertram, Matt Hollingsworth, Joe Benitez, Peter Steigerwald, Francis Manapul, Sean Galloway, Phil Jimenez & Hi-Fi, Jeremy Roberts, Juan Ferreyra, Brennan Wagner, Joe Madureira, Nei Ruffino, Lee Bermejo, Frank Cho, Mirka Andolfo, Joseph Michael Linsner, Minjue Helen Chen, Tony S. Daniel, Jason Fabok, Babs Tarr, Rafael Albuquerque, Yanick Paquette, Paul Pope & Lovern Kindzierski, Tyler Kirkham, Jae Lee & June Chung, Ed Benes & Dinei Ribeiro, Aaron Lopresti, Tom Raney & Gina Going, Khary Randoph & Emilio Lopez, Michael Turner, Carlos D’Anda, Laura Martin, Sabine Rich, Bill Sienkiewicz, Ashley Witter, Dawn McTeigue, Jonboy Myers, Sunny Gho, Philip Tan & Jonathan Glapion, Paul Pelletier & Sandra Hope, Joshua Middleton. Liam Sharp, Billy Tucci, John Romita Jr & Dean White, and Otto Schmidt.

This collection is exciting, lovely to look upon, deliriously daft, happily hilarious and will provide hours of delighted deliberation as we all dip in, reminisce and ultimately disagree on what should and shouldn’t be included. Enjoy, Art-lovers, Bat-Fans and proud Harley-queens!

If you are utterly absorbed and crave still more, you might want to also see companion volume The Art of Harley Quinn by Andrew Farago.
© 1993, 1994, 1995, 1999, 2001, 2002, 2003, 2004, 2007, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017 DC Comics. All Rights Reserved.

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Batman: Year One – The Deluxe Edition



By Frank Miller & David Mazzucchelli with Richmond Lewis, Todd Klein & various (DC Comics)
ISBN: 978-1-4012-3342-6 (HB/Digital edition) (978-0-29020-489-0 TPB)

Happy Bat-Anniversary!

Batman’s first ever origin moment came in Detective Comics #33 (November 1939, on sale from September 30th). Scripted by Gardner F. Fox and Bill Finger, ‘The Batman Wars Against the Dirigible of Doom’ included 2-page prologue ‘The Batman and How He Came to Be’ which first revealed how a young boy witnessed his parents’ hold-up and murder by a petty thug and dedicated his life to becoming a perfect human specimen to avenge them and punish all criminals. Those 12 panels were reprinted at the beginning of Batman #1 (Spring 1940) and – with occasional minor tweaking – stayed the official version for 50 years.

However, comic book heroes are all about fashion and revisionism, and on the back of DC’s multiversal continuity adjustment Crisis on Infinite Earths the hero voted Best Comic Book Character of the 20th Century completed a long-enacted but gradual readjustment: completely reverting to his gothic noir roots. The process actually started almost immediately after the Batman TV show was cancelled, and hit its pivot point in two 1980s’ tales: Alan Moore & Brian Bolland’s Batman: The Killing Joke and the revolutionary series-within-a-series here.

This classic tale is available in a variety of editions. Batman: Year One is a joy to read and its pulp fiction fuelled reinterpretation of the hallowed origin literally changed the way Batman was produced – much more so than Frank Miller’s apocalyptic “Imaginary story” The Dark Knight Returns. The effects of the revisualisation still echo through Bat-titles and every single screen iteration from animated cartoons to box office blockbusters.

When Superman and Wonder Woman were similarly re-tooled, each got to start fresh with a new number #1s, but Batman’s evolution simply crept up on fans in the regular run of comics. The tale radically reimagined Catwoman and Jim Gordon, introduced believable human-scaled villains with organised crime figures such as Carmine Falcone and comprehensively rebuilt Gotham City as a hopeless hellhole of endemic corruption.

It began in Batman #404 – cover-dated February 1987 and on sale from October 21st 1986. Over four issues the bleak serial utterly altered the comic landscape as scripter Frank Miller and illustrator David Mazzucchelli (fresh from an astounding collaboration resurrecting Daredevil in Born Again please link to Daredevil: Born Again July 26th 2016) made Bruce Wayne and Batman simultaneously more human, vulnerable, formidable and credible.

With art based on the stylisations of Alex Toth and a story lensed through iron-hard detective and crime procedural dramas ‘Chapter One: Who I Am. How I Come to Be’ opens on January 4th and focuses on Wayne and recent transfer Lieutenant James Gordon as both arrive in Gotham ahead of personal scandals. Gordon is joining the crookedest constabulary in America, and the young heir to one of the City’s biggest fortunes has a desperate wish, a poorly formed plan and no method of getting what he wants.

By March, both have almost died but found their own way to hit back…

‘Chapter Two: War is Declared’ opens in April with Gordon hailed an honest-to-goodness hero cop. It’s the only thing saving him from being murdered by his own corrupt colleagues and mob-owned Police Commissioner Gillian B. Loeb: that and his high-profile hunt for a costumed vigilante who dresses like a bat…

When the masked maniac graduates from thugs, pushers and burglars by declaring war on Gotham’s criminal aristocracy, Gordon’s hunger to catch him falters. Isn’t the Bat doing exactly what Gordon would do if he didn’t have a pregnant wife, secret mistress and pitiful career to protect?

His conflicted quandaries are put into sharp perspective in ‘Chapter Three: Black Dawn’ when Loeb submits to pressure from Falcone and unleashes Gotham’s brutally gung-ho SWAT forces on the vigilante: a move costing countless civilian lives when they raid a tenement in hot pursuit of “The Bat”. The assault is live televised, triggering one witness to begin her own costumed career, plundering Falcone’s shaking empire even as the mystery man categorically proves he’s no urban myth but a force to be feared…

Spanning September to December 3rd, ‘Chapter Four: Friend in Need’ finds our mismatched heroes finally joining forces after Gordon at last sees the kind of man The Bat is. That comes when GCPD attempt to destroy the by-the-book cop by targeting his wife and newborn baby and leads to the beginning of a major clean up in Gotham’s government…

The sequence was heavily promoted from the start and immediately reset The Dark Night’s monthly continuity. From this point on this was what Batman was ALWAYS like…

A high design style was created from the start – by Chip Kidd – to match the fully immersive impressionist reworking. This story was treating the material like a grownup book not a kid’s throwaway pamphlet: boldly declaring “less is more. Less is enough. Less is what you get. Work with what’s here.” The whole point of the exercise was to give creators that followed plenty of raw material to work with and it paid off big-time as the Dark Knight began his second Golden Age.

Various collected editions include up to 40 pages of extras such as mood setting preface ‘The Crime Blotter by Slam Bradley’, an Introduction by Denny O’Neil, Afterword by Miller and Mazzucchelli’s wonderfully drawn ‘Afterword(s)’ – a comic strip commentary on Batman. There is a wealth of development material, promotional art and selection of script pages, thumbnail sketches and layouts providing a fascinating intro into the artistic process. Colourist Richmond Lewis completely reworked the printed newsprint pages for the higher quality graphic novel and examples of her process are here, plus a full comics cover gallery and large selection of book cover designs.

Batman: Year One is a story every comic fan should own, and if you are and you don’t, fix that situation now, Now, NOW!
© 1986, 1987, 2005, 2007, 2012, 2017, DC Comics. All Rights Reserved.

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The Batman Adventures volume 2


By Kelley Puckett, Mike Parobeck & Rick Burchett & various (DC Comics)
ISBN: 978-1-4012-5463-6 (TPB/Digital edition)

As conceived and delivered by Eric Radomski, Bruce Timm & latterly Paul Dini, Batman: The Animated Series began airing in the US on September 5th 1992, running to September 15th 1995 before being rebooted for a second bite at the cherry. The shows – ostensibly for kids – revolutionised everybody’s image of the Dark Knight and happily fed back into a print iteration, introducing characters like Harley Quinn to the comics canon and leading to some of the absolute best comic book tales in the hero’s decades of existence.

Employing a timeless visual style dubbed “Dark Deco”, the show mixed elements from all iterations of the character and, without diluting the power, tone or mood of the premise, re-honed the grim avenger, his team, allies and enemies into gleefully accessible, thematically memorable forms that the youngest of readers could enjoy, whilst adding dark shades of exuberance and panache only most devout and obsessive Batmaniac could possibly object to.

The comic book iteration was prime material for collection in an emergent trade paperback market, but only the first year was released, plus miniseries such as Batman: Gotham Adventures and Batman Adventures: the Lost Years.

This second compendium gathers issues #11-20 of The Batman Adventures (originally published from August 1993 to May 1994) in a scintillating, no-nonsense frenzy of family-friendly Fights ‘n’ Tights fantasy from Kelly Puckett, Mike Parobeck & Rick Burchett.

Puckett is a writer who truly grasps the visual nature of the medium and his stories are always fast-paced, action-packed and stripped down to the barest of essential dialogue. That gift has never been better exploited than by Parobeck who was at that time a rising star, especially when graced by Burchett’s slick, clean inking.

Although his professional comics career was tragically short (1989-1996 when he died, aged 31, from complications of Type 1 Diabetes) Mike Parobeck’s gracefully fluid, exuberantly kinetic, fun-fuelled animation-inspired drawing style revolutionised superhero depiction and sparked a renaissance in kid-friendly comics – and merchandise – at DC and everywhere else.

Like the show, each story is treated as a 3-act play, and kicking off events here is moodily magnificent thriller ‘The Beast Within!’ as obsessed scientist Kirk Langstrom agonises. He believes he is somehow uncontrollably transforming into the monstrous Man-Bat whenever ‘The Sleeper Awakens!’ The truth is far more sinister, but incarcerated in ‘G.C.P.D.H.Q!’ neither the troubled chemist nor his beloved wife Francine can discern ‘The Awful Truth!’ Happily, ever-watchful Batman plays by his own rules…

Following in with a stunning shift of focus, young Barbara Gordon makes a superhero costume for a party on ‘Batgirl: Day One!’ and subsequently stumbles into a larcenous ‘Ladies Night’ when the High Society bash is crashed by rejected Joker groupie Harley Quinn and plant-based plunderer Poison Ivy. With no professional help on hand, Babs must act as ‘If the Suit Fits!’ and tackle the bad girls herself… and then Catwoman shows up for frantic ferocious finale ‘Out of the Frying Pan!’…

The troubled relationship of Batman and Talia, Daughter of The Demon was tackled with surprising sophistication in ‘Last Tango in Paris’ with the sometime-lovers teaming up to recover a statue stolen from her diabolical eco-terrorist dad Ra’s Al Ghul.

‘Act 1: Old Flame’ sees them stumble into a trap set by one of The Demon’s rivals, but turn the tables in ‘Act 2: Paris is Burning’ before each of the trysting couple’s true motivations are exposed in heartbreaking ‘Act 3: Where there’s Smoke’…

Despite being a series to be read one glorious tale at a time, the creators had laid groundwork for an epic sequence to come, but whilst Bruce is occupied in Europe, the spotlight shifts to Dick Grayson as the Teen Wonder worries about how to break to his mentor news of a game-changing decision, even as ‘Public Enemy’ sees the latest incomprehensible rampage of  deranged bandit by The Ventriloquist…

‘Act 1: Greakout!’ finds the cunningly carved crook and his silently screaming stooge escaping clink to orchestrate a massive heist in ‘Act 2: The Grinks Jog’, only to ultimately have the limelight stolen by Robin in ‘Act 3: The Gig Glock!’…

Police Commissioner Jim Gordon teams with Batman in ‘Badge of Honor’, united to save a undercover cop held hostage by Boss Rupert Thorne in ‘Act 1: Officer Down!’ before ‘Act 2: Cop Killer!’ tracks the seemingly unstoppable duo hunting down the fallen hero only to face their greatest obstacle in ‘Act 3: Code Dead!’ That’s when slick operator Thorne finally himself gets his hands dirty…

In ‘The Killing Book’ the Harlequin of Hate takes offence at his “unflattering” portrayal in comics with ‘Act 1: Seduction of the Innocent!’ seeing The Joker kidnap the publisher’s latest overnight sensation in order to show in ‘Act 2: How to Draw Comics the Joker Way!’ Naturally ‘Act 3: Comics and Sequential Death!’ only prove Batman is not a guy to tolerate funnybooks or artistic upstarts.

The seeds planted in Paris flourish and bloom in ‘The Tangled Web’ as The Demon’s latest act of genocide begins with ‘Act 1: Into the Shadows!’ However ‘Act 2: New World Order’ proves yet again Ra’s has critically underestimated his enemy, as a different masked stranger saves Earth from catastrophe in ‘Act 3: What Doth it Profit a Man?’

Following that epic victory Robin meets the baffling and mysterious Batgirl for the first time on ‘Decision Day’ when conflicted Barbara Gordon again succumbs to the addictive lure of costumed crimefighting. Thwarting a bomb plot in ‘Act 1: Eyewitness!’ the feisty but untutored firebrand opts to catch the culprit herself in ‘Act 2: Smoking Gun’, even if she does grudgingly accept a little assistance from the Teen Wonder in ‘Act 3: No Justice, No Peace!’

Gotham’s Master of Terror turns up inside Batman’s head sparking ‘Troubled Dreams’ as the Dark Knight becomes just one of many sufferers of ‘Act 1: Nightmare over Gotham!’ Just for once, however, there’s another instigator of panic in the mix, enquiring in ‘Act 2: Who Scares The Scarecrow?’ until the Caped Crusader catches the real dream-invader in ‘Act 3: Beneath the Mask’…

The fabulous foray into classic four-colour fun concludes with another spectacular yet hilarious outing for a Terrible Trio of criminals who bear a remarkable resemblance to DC editors Dennis O’Neil, Mike Carlin and Archie Goodwin. ‘Smells Like Black Sunday’ opens with ‘Act 1: And a Perfesser Shall Lead Them!’ as the Triumvirate of Terror bust out of the big house, hotly pursued by the Gotham Gangbuster in ‘Act 2: Flying Blind with Mastermind’.

Sadly their scheme to become a 3-man nuclear power falters as ‘Act 3: Legend of the Dark Nice’ finds the evil geniuses underestimating the sheer cuteness of guard dogs and their cataclysmic comrade’s innately gentle disposition…

Breathtakingly written and iconically illustrated, these stripped-down rollercoaster-romps are impeccable Bat-magic and this is a compendium every fan of any age and vintage will adore.
© 1993, 1994, 2015 DC Comics. All Rights Reserved.

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Batman: The Strange Deaths of Batman


By Gardner F. Fox, Cary Bates, Cary Bates, Bob Haney, David V. Reed, Gerry Conway, John Stanisci, Chuck Dixon, Carmine Infantino & Joe Giella, Curt Swan & Jack Abel, Jim Aparo, John Calnan & Tex Blaisdell, Rich Buckler & Frank McLaughlin, Sal Buscema, Greg Land, Drew Geraci & various (DC Comics)
ISBN: 978-1-4012-2174-4 (TPB)

Compiled on the coat-tails of DC’s Batman R.I.P. publishing event (which ran May to November 2008, and with repercussions inspiring recent events in the ongoing mythology), this delightfully eccentric collection celebrates the recurrent demise of the Gotham Guardian by digging up a few oddments and some genuine valuable artifacts to amuse, enthral and amaze.

The wonderment begins with the quirkily eponymous ‘The Strange Death of Batman!’: a highly experimental mystery originating in Detective Comics #347 (January 1966) literally moments before the Dynamic Duo became household names all over the globe thanks to an incredibly popular TV show. Crafted by Gardner Fox, Carmine Infantino & Joe Giella, it features a major contender for the title of Batman’s daftest super-foe – The Bouncer – but still delivers action, drama and an intriguing conundrum to challenge the reader…

It’s followed by ‘Robin’s Revenge’ (World’s Finest Comics #184. May 1969) wherein Cary Bates and artists Curt Swan & Jack Abel recount the Imaginary Story (see DC’s Greatest Imaginary Stories for a definition if the term is somehow unknown to you) of Batman’s murder and the dark path that loss takes the Boy Wonder down. Hapless Superman acts as stand-in guardian but is helpless to forestall inevitable further tragedy…

‘The Corpse that Wouldn’t Die!’ is a superb tale guest-starring The Atom taken from team-up title The Brave and the Bold #115 (October/November 1974). Written by Bob Haney and magnificently drawn by Jim Aparo, it details how the Gotham Guardian is killed in the line of duty and how the Tiny Titan occupies his brain to reanimate his corpse and conclude the case that finished him…

Next is an extended saga from Batman #291-294 (cover dates September through December 1977) written by author David V. Reed and illustrated by John Calnan & Tex Blaisdell. Over four deviously clever issues ‘Where Were You the Night Batman Was Killed?’ sees hordes of costumed foes the Caped Crusader has crushed assemble to verify the stories of various felons claiming to have done the deed. This thematic partial inspiration for Neil Gaiman’s “Last Batman Story” kicks off with ‘The Testimony of the Catwoman’ followed by testimony from The Riddler, Lex Luthor and The Joker before satisfactorily concluding in a spectacular grand manner.

‘Buried Alive!’ by Gerry Conway, Rick Buckler & Frank McLaughlin (World’s Finest Comics #269 June/July1981) finds Superman and Robin desperately racing against time: hunting for a madman who entombed the Batman, after which ‘The Prison’ written and inked by John Stanisci, with Sal Buscema pencils, is a moody character piece featuring post-mortem reflections of Talia, Daughter of the Demon Ra’s Al Ghul as originally seen in Batman Chronicles #8, Spring 1997. This odd yet engaging tome terminates with a frilly, fluffy fantasy from Nightwing #52, (February 2001) as Catwoman imagines a morbidly mirthful ‘Modern Romance’ courtesy of Chuck Dixon, Greg Land & Drew Geraci.

Themed collections can be a rather hit-or-miss proposition, but the quality and variety of these inspired selections makes for a highly enjoyable read and the only regret I can express is that room couldn’t be found to include the various covers that fronted these tales. Include those in a new expanded edition and you’d have a book to die for…
© 1966, 1969, 1974, 1977, 1981, 1997, 2001, 2009 DC Comics. All Rights Reserved.

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Sensation Comics Featuring Wonder Woman volume 1


By Gail Simone & Ethan Van Scriver, Amanda Deibert & Cat Staggs, James Bischoff & David A. Williams, Ivan Cohen & Marcus To, Sean Williams & Marguerite Sauvage, Ollie Masters & Amy Mebberson, Gilbert Hernandez & John Rauch, Rob Williams & Tom Lyle, Neil Kleid & Dean Haspiel , Corinna Bechko & Gabriel Hardman & various (DC Comics)
ISBN: 978-1-4012-5344-8 (TPB/Digital edition)

Beyond all dispute or doubt, Wonder Woman is the very acme of female role models. Since her premier in 1941 she has dominated every aspect of global consciousness to become not only a paradigm of comics’ very fabric but also a brilliant and vivid visual touchstone and mythic symbol to women everywhere. In whatever era you observe, the Amazing Amazon epitomises the perfect balance between thought and competence and, over those decades, has become one of that rarefied pantheon of literary creations to achieve meta-reality.

For decades, the official story was that the Princess of Paradise Island was conceived by psychologist and polygraph pioneer William Moulton Marston as a calculated attempt to offer girls a positive and forceful role model who would sell more funnybooks to girls. Thanks to forward-thinking Editor M.C. Gaines, an introductory guest shot for the Amazon in All Star Comics #8 (cover-dated December 1941 and on sale from the third week of October), served to launch her one month later into her own series – and the cover-spot – of new anthology title Sensation Comics. We now know Wonder Woman was in fact a team if not communal effort, with Moulton Marston acting at the behest of his remarkable wife Elizabeth and their life partner Olive Byrne.

An instant hit, Wonder Woman won an eponymous supplemental title (cover-dated summer 1942) some months later. That set up enabled the Star-Spangled Sensation to weather the vicissitudes of the notoriously transient comic book marketplace and survive beyond the Golden Age of costumed heroes beside Superman, Batman and a few lucky hangers-on who inhabited the backs of their titles. She soldiered on well into the Silver Age revival under the official auspices of 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.

Barring a couple of early fill-ins by Frank Godwin, the vast majority of outlandish, eccentric, thematically barbed adventures they collectively penned were limned by classical illustrator Harry G. Peter. When Marston died on cancer in 1947, his assistant Joye Hummell carried on writing stories until DC replaced her with a man – in fact a “real Man’s Man” – Robert Kanigher…

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 from bondage by the goddess Aphrodite on condition they isolated themselves forever from the mortal world, devoting 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 liberty. Although forbidden to compete, closeted, cosseted teen 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, which elegantly allowed the unregistered immigrant to stay close to Steve whilst enabling the heartsick care-worker to join her own fiancé in South America.

The new 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. The Princess little suspected that, although the painfully shallow Steve only had eyes for the dazzling Amazon superwoman, the General had fallen for the mousy but supremely competent Lieutenant Prince…

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 (a makeover in the manner of UK TV icon Emma Peel) and made comic book history with the only female superhero to still have her own title in that marketplace. Eventually the merely mortal troubleshooter gave way to a reinvigorated Amazing Amazon who battled declining sales until DC’s groundbreaking Crisis on Infinite Earths, after which she was radically rebooted.

There were minor tweaks in her continuity to accommodate different creators’ tenures, until 2011 when DC rebooted their entire comics line again and Wonder Woman once more underwent a drastic, fan-infuriating but sales-boosting root-&-branch re-imagining. Perhaps to mitigate the fallout, DC created a number of fall-back options such as this intriguing package: the first of three to date…

Sensation Comics Featuring Wonder Woman began as an online “digital first” series before being collected (months later) as a new standard print comic reprinting three post/chapters per issue. Crafted by a fluctuating roster of artists and writers, the contents highlighted every previous era and incarnation of the character – and even a few wildly innovative alternative visions – offering a variety of thrilling, engaging and sincerely fun-filled moments to remember.

The comic book iteration was successful enough to warrant its own series of trade paperback compilations which – in the fullness of time and nature of circularity – gained their own digital avatars as eBooks too.

This first full-colour compilation collects Sensation Comics Featuring Wonder Woman #1-5 (October 2014 – February 2015), displaying a wealth of talent and cornucopia of different insights, starting with Gail Simone & Ethan Van Scriver’s ‘Gothamazon’, detailing how a mythologically militaristic Wonder Woman uncompromisingly, permanently cleans up Batman’s benighted home when the Gotham Guardians are taken out of play…

Amanda Deibert & Cat Staggs’ ‘Defender of Truth’ pits the Amazon against man-hating sorceress Circe to deliver a lesson that never gets old before ‘Brace Yourself’ from James Bischoff & David A. Williams reveals how little Princess Diana spent her formative years testing her growing abilities – and the Queen’s patience and love…

In ‘Taketh Away’ Ivan Cohen & Marcus To tackle an interesting issue by addressing the religious implications of a pagan-worshipping hero in Judaeo-Christian America whilst delivering an action-packed mystery and super duel with old enemies Cheetah and Doctor Psycho, before Sean Williams & Marguerite Sauvage explore her media profile as crime buster, role model and singer/lead guitarist with global rock sensation ‘Bullets and Bracelets’.

‘Morning Coffee’ by Ollie Masters & Amy Mebberson offers a quirky, manga-inspired duel of wits and ideologies with infallible thief Catwoman after which Gilbert Hernandez & colourist John Rauch go incontrovertibly retro for a blockbusting Silver-Age celebration of maidenly might as Wonder Woman, Mary (Shazam!) Marvel and Supergirl smash robots, aliens, supervillains and each other in cathartically cataclysmic clash ‘No Chains Can Hold Her!’

An alternate Earth mash-up by Rob Williams & Tom Lyle sees the classic Justice League and Thanagarian shapeshifter Byth face the ‘Attack of the 500-Foot Wonder Woman’ whilst ‘Ghosts and Gods’ (Neil Kleid & Dean Haspiel) finds the Golden Age Amazon and trusty aide Etta Candy united with restless spirit Deadman to foil the schemes of immortal eco-terrorist Ra’s Al Ghul.

The comic cavalcade concludes on a far more sombre and sinister note as ‘Dig for Fire’ by Corinna Bechko & Gabriel Hardman discloses how Diana invades Hellworld Apokolips to rescue two Amazon sisters only to discover amidst the horror and degradation that true evil is not the sole preserve of depraved New God Darkseid…

Augmented by spectacular covers-&-variants from Van Scriver & Brian Miller, Phil Jimenez & Romula Farjardo Jr., Ivan Reis, Joe Prado & Carrie Strachan, Adam Hughes & Lawrence Reynolds, this fascinating snapshot of the sheer breadth and variety of visions Wonder Woman has inspired in her decades of existence is one to delight fans old and new alike.
© 2014, 2015 DC Comics. All Rights Reserved.

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Steel: A Celebration of 30 Years


By Louise Simonson, Jon Bogdanove, Christopher Priest, Grant Morrison, Mark Schultz, Mateo Casali, Steve Lyons, Scholly Fisch, Matt Kindt, Chris Batista, Denys Cowan, Arnie Jorgensen, Doug Mahnke, Darryl Banks, Scott Cohn, Ed Benes, Rags Morales, Brad Walker, Patrick Zircher, June Brigman & various (DC Comics)
ISBN: 978-1-7795-2173-6 (HB/Digital edition)

All superhero sagas seek to forge fresh legends and mythologies for and around their protagonists and antagonists. A select few (like Thor, Wonder Woman, Hercules, Fables or Robin Hood) can shortcut the process by borrowing from already established communal story traditions. Steel always leaned into the latter: adapting and reiterating the folklore of actual historical personage John Henry: a 19th century African American Freedman known as the “steel-driving man” who worked building railroads and died proving human superiority and tenacity over technological innovation.

This epic compilation – part of a dedicated series reintroducing and exploiting the comics pedigree of DC icons – offers snapshots of a modern black Thomas Edison (or more accurately Tony Stark) who is equal parts impassioned justice seeker, dynamic defender and modern Hephaestus. Through groundbreaking appearances as part of the Superman Family, and standing on his own two jet-booted feet in the ever expanding DCU, it features material from Adventures of Superman #500, Superman: The Man of Steel #22, 100, 122, Steel (volume 1) #1, 34, JLA #17, Justice League Unlimited #35, Steel (volume 2) #1, Action Comics #4, Suicide Squad #24, and The Death of Superman 30th Anniversary Special #1, and like all these curated collections offers introductory essays preceding time-themed selections. We open with Part I: 1993-1998 – The Forging of a Hero by Steel co-creator Louise Simonson prior to her, Jon Bogdanove & Dennis Janke’s tantalising teaser ‘First Sighting’ as seen in Adventures of Superman #500. In the aftermath of catastrophe a new threat imperils the streets of Metropolis and a battered but mighty figure stirs from the rubble muttering “Doomsday”…

Steel’s story began with landmark publishing event The Death of Superman: a 3-pronged story-arc depicting the martyrdom, loss, replacement and resurrection of the World’s Greatest Superhero in a stellar saga which broke all records and proved that a jaded general public still cared about the venerable, veteran icon of Truth, Justice and the American Way. After a brutal rampage across Middle America, a mysterious marauding monster had only been stopped in the heart of Metropolis by an overwhelming and fatal effort on Superman’s part. Dying at the scene, the fallen hero’s body was subject of many legal battles before it was ostensibly laid to rest in a tomb in Metropolis’ Centennial Park. As Earth adjusted to a World Without a Superman, rumours began to circulate that, like Elvis, the Man of Tomorrow was not dead. The aforementioned ‘First Sightings’ revealed how across America four very different individuals appearing, saving lives and performing good deeds as only the departed defender could…

In Superman: The Man of Steel #22 (July 1993), Simonson, Bogdanove, Chris Batista & Rich Faber introduced construction worker Henry Johnson – who had been saved by Superman in the past – who felt compelled to carry on the hero’s mission. After witnessing first-hand street kids murdered by super weapons in the hands of “gangbangers” he built a high-tech suit of armour to facilitate his crusade as. Whilst outraged urban inventor attended disasters and began cleaning up the streets of Metropolis as ‘Steel’, he relentlessly searched for those who used deadly new “toastmasters”: a weapon Irons had designed in another life…

Tracking the munitions enabled him to save the life of a fortune-teller and brought him into savage conflict with White Rabbit – a new criminal major player in the city challenging the secret control of Lex Luthor – but his life only got more complicated the morning after, when Psychic Rosie went on TV claiming Steel was possessed by the unquiet soul of Superman…

To see how that  situation was resolved check out Reign of The Supermen collections but here – following the defeat of the Cyborg-Superman – our ironclad iconoclast underwent a partial refit in Steel (volume 1) #1, as writers Simonson & Bogdanove and artists Batista & Rich Fabee ‘Wrought Iron’ with Johnson resuming his previous identity as John Henry Irons and returning to his hometown and family in Washington D.C. ready to settle the problems he had originally fled from.

Welcomed back by niece Natasha, he and she are almost killed in another gang war and toastmaster crossfire, so John Henry begins a sustained and convoluted campaign against his former corporate employers Amertek, White Rabbit and the lying SOBs who allowed his junked superweapons program (AKA the BG60) to be sold to criminals. His first task is to upgrade and reforge his briefly retired armoured identity…

After an epic career as a reluctant superhero, John Henry and Natasha relocate to Jersey City as Christopher Priest, Denys Cowan & Tom Palmer reboot proceedings. In ‘Bang’ he reinvents himself as a maker of medical hardware and prosthetics working for a barely disguised supervillain. With all concerned leaning heavily into the perceived notion of Steel as a second-rate substitute, Priest consequently crafted one of the funniest and most thrilling superhero series of the decade and one long overdue to be featured in its own collection.

Steel was becoming increasingly popular and was rewarded with membership in the new sensation-series – the reconstituted Justice League. Here in his April 1998 induction from JLA #17, Grant Morrison, Arnie Jorgensen, David Meikis & Marl Pennington show ‘Prometheus Unbound’ as the ambitious neophyte supervillain attacks the entire League in their moon base Watchtower. As recent recruits Huntress, Plastic Man, fallen angel Zauriel and covert information resource Oracle join the regular team invite the world’s press to their lunar base, this unwise courtesy inadvertently allows the insidious seemingly unstoppable mastermind to infiltrate and almost destroy them.

The heroes – despite initially succumbing to Prometheus’ blitz-attack – strike back, aided by unlikely surprise guest-star Catwoman and the last-minute appearance of New Gods Orion and Big Barda proffering yet more hints of the greater threat to come. Although playing a significant part in the win, Steel is not really a star here but at least proves he can play well with the big dogs…

Priest then provides fascinating insight to his take on Dr. Irons and his tenure’s overt concentration of racism and comedy in an essay segueing neatly into Part II: 2000-2011 – Forging the Future prior to adventures in a new millennium.

In Superman: The Man of Steel #100 (May 2000), Mark Schultz, Doug Mahnke & Tom Nguyen offer a ‘Creation Story’ as John Henry and Natasha set up shop in Metropolis with their (she’s a SuperGenius too and ultimately also became an mecha-outfitted superhero) “Steelworks” facility, helping Superman reconstruct his Fortress of Solitude from recovered Kryptonian and Phantom Zone raw materials. The artificers are unaware that an old enemy is sending new menace Luna and her Cybermoths to plunder their achievements…

Despite their always being the best of friends, Superman: The Man of Steel #122 (March 2002) notionally succumbs to the inevitable in Superman v Steel’ by Schultz, Darryl Banks & Kevin Conrad as Irons battles crippling anxieties after accepting a potential trojan horse weapon – the Entropy Aegis – from Darkseid and using it as the basis of new armour. With monsters trying to reclaim it and Superman begging him not to use it, frayed tempers snap…

As well as an ill-received – and unjustly derided – cinema iteration (really! – check it out with more forgiving modern eyes), Steel made the jump to television numerous times. The best was his tenure in the Cartoon Network Justice League/Justice League Unlimited animated shows and the comic books they spawned. Next up here is Mateo Casali, Scott Cohn & Al Nickerson’s all-ages romp ‘The Cycle’ (Justice League Unlimited #35, September 2007), with John Henry and Natasha in the Watchtower before leading the team against reawakened elder gods The Millennium Giants…

Having grown overlarge and unwieldy once more, DC took a draconian leap as its continuity was again pruned and repatterned. In October 2011, publishing event Flashpoint led to a “New 52”: radical yet mostly cosmetic changes that barely affected the properties reimagined. Just before that kicked off, John Henry got a stirring “hail and farewell” in Steel (volume 2, 2011) #1. ‘Reign of Doomsday, Part 1: Full Circle’ by Steve (Doctor Who) Lyons & Ed Benes opened a Superman Family mass-crossover as the marauding monster returned to crush all S-Sheild superstars, starting with John Henry before moving on to The Outsiders and others…

Concluding chapter Part III: 2012-Present – The First Black Superman opens with a treatise and career appraisal of “DC’s Iron Man” by Bogdanove, after which the techno-warrior is reimagined by Morrison, Rags Morales, Rick Bryant & Sean Parsons in Action Comics (volume 2) #4, January 2012. ‘Superman and the Men of Steel’ sees a young Man of Tomorrow starting out as a vigilante, pursued by Military Consultant Lex Luthor and losing to the latter’s Kryptonite fuelled cyborg Metallo until a technologist working on the Steel Soldier program dons the armour he’s building to save the embattled young hero…

From the same issue, ‘Hearts of Steel’ – by Scholly Fisch, Brad Walker & Jay David Ramos – concludes the 3-way war and provides insight into the valiant newcomer, before Suicide Squad #24 (volume 4, December 2013) taps into publishing event Forever Evil with ‘Excuse the Mess…’ by Matt Kindt, Patrick Zircher & Jason Keith. As Earth is infiltrated by invaders from an alternate reality, conscripts of Amanda Waller’s penal unit (Thinker, King Shark, Captain Boomerang, Deadshot and Harley Quinn) rebel when the world’s supervillain community unites to crush the heroes. Opposing the rebellion and fighting to keep a living WMD from them are an Unknown Soldier, vigilante Warrant, Power Girl and Steel…

In 2015, as the New 52 experiment staggered to a conclusion, a series of company-wide events offered speculative glimpses at what might have been. Following 2014’s Futures End came Convergence in April 2015: a series of character-derived micro-series referencing key periods in the amalgamated history of DC heroes. Crafted by Simonson, June Brigman, Roy Richardson & John Rauch, Convergence: Superman: Man of Steel #1-2 depicted ‘Divided We Fall’ & ‘United We Stand’ as assorted cities from varied publishing epochs of continuity are imprisoned under domes by Telos, slave of Brainiac and ordered to fight each other until only one survives. Referencing their 1990s iteration, Irons, Natasha and nephew Jemahl armour up beside maniacal villain The Parasite to battle the abrasive superteens of Gen 13…

We end by turning full circle as Louise Simonson, Jon Bogdanove & colourist Glenn Whitmore share undisclosed secrets from the first appearance of Steel, as finally revealed in The Death of Superman 30th Anniversary Special #1 (November 2022).‘Time’ expands on ‘First Sightings’, taking readers back to the moments Doomsday ripped through Metropolis and showing how “Henry Johnson” saved lives as he ran towards the life or death battle to aid Superman however he can…

With covers by Bogdanove & Janke, Dave Johnson, Howard Porter & John Dell, Doug Mahnke & Tom Nguyen, John Cassaday & Richard Horie, Zach Howard, Alex Garner, Morales & Brad Anderson, Steve Skroce & Jason Keith, Walter Simonson & Dave McCaig, these tales span cover-dates January 1993 to November 2022; a period where black heroes finally became acceptable comics currency – at least for most people – and this too brief collation of groundbreaking yarns only begs the question: why isn’t more of this wonderful stuff already available?
© 1993, 1994, 1997, 1998, 2000, 2002, 2007, 2011, 2012, 2013, 2015, 2022, 2023 DC Comics. All Rights Reserved.

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The Batman Adventures volume 1


By Kelly Puckett, Marty Pasko, Ty Templeton, Rick Burchett, Brad Rader, Mike Parobeck, Rick Taylor, Tim Harkins & various (DC Comics)
ISBN: 978-1-4012-5229-8 (TPB/Digital)

Batman: The Animated Series aired in America from September 5th1992 until September 15th 1995. Ostensibly for kids, the TV cartoon show was devised and designed by Paul Dini, Bruce Timm and Eric Radomski (with writer Paul Dini). Its success utterly revolutionised the image of the Dark Knight, resulting in some of the absolute best comic book tales in his decades-long publishing history as the series spawned a print spinoff and eventually a niche genre.

Employing a timelessly elemental and primal visual tone (dubbed “Dark Deco”) TV episodes mixed iconic elements from all comic iterations of the character and, without diluting the power and mood of the premise, perfectly honed the grim avenger and his team into a wholly accessible, thematically memorable form even the youngest of readers could enjoy, whilst adding shades of exuberance and noir style that only most devoutly obsessive Batmaniac could possibly find fault with.

The comics version became a cast-iron certainty for collection in the newly-emergent trade paperback market which stormed into and out of shops in the mid-1990s. Here the first ten titanic all-ages exploits (October 1992 to July 1993) from The Batman Adventures comic book are rediscovered and gathered with tales in a smashing, straightforward sampler of Fights ‘n’ Tights fantasy.

With colourist Rick Taylor, and letterer Tim Harkins on duty throughout, the moodily magnificent action opens with ‘Penguin’s Big Score’ by writer Kelly Puckett, and artists Ty Templeton & Rick Burchett. Each story was divided into three chapters and ‘Charm School Dropout!’ sees the Bird of Ill Omen taking tips on how to rehabilitate his nefarious reputation from The Joker, whilst in ‘Top of the World, Ma!’ the Foul Fowl’s new standing as a philanthropist has all Gotham agog. The sinister scheme is finally exposed by Batman in climactic third act ‘Power of the Press’, but the hero has no idea the real winner is the Clown Prince of Crime…

For #2, Puckett, Templeton & Burchett deliver ‘Catwoman’s Killer Caper’, kicking off with a gem heist before – at Joker’s insistent urging – sultry Selina Kyle visits England’s Tower of London to swipe ‘The Family Jewels!’ In hot pursuit, the Gotham Gangbuster pops across The Pond to quell ‘Panic over Londontown’ and solve an apparently impossible theft in ‘Midnight Madness’ …but not before the Harlequin of Hate snatches the real prize…

The crafty conniving culminates in ‘Joker’s Late-Night Lunacy!’ (#3 by Puckett, Templeton & Burchett), with Gotham’s airwaves hijacked and Commissioner Gordon kidnapped by the larcenous loon and made himself literally unmissable viewing in ‘A Star is Born!’

‘I Want My JTV!’ depicts District Attorney Harvey Dent make it onto the Joker’s inhospitable guest list, but Batman is still one step ahead of the game and lowers the boom in explosive finale ‘Flash in the Pan!’

Writer Marty Pasko and penciller Brad Rader joined inker Burchett for a gripping 2-issue terror tale guest starring Robin as ‘Riot Act’ describes ‘Panic in the Streets’ after a strange plague caused citizens to lose the ability to read. Even with complete chaos gripping Gotham the Teen Wonder’s ‘Help on the Wing’ results in a huge step forward but when ‘Robin Takes a Fall’, the hidden culprit reveals himself before the drama intensifies in #4 with ‘Riot Act: Johnny Can’t Read!’ as The Scarecrow steps up his campaign to teach slackers of the modern world a harsh lesson. In fact, the Dynamic Duo are well aware of the ‘Hi-Fi Hijinx’ at the root of the problem and, with the help of a repentant henchman, crush the crisis in ‘Those Who Can’t Do!’

A crafty change of pace finds Bruce Wayne is arrested for murder in ‘The Third Door!’ as crafted by Puckett, Rader & Burchett. The cunning locked-room mystery opens with ‘The Party’s Over’ as the prime suspect details the facts of the case to young Dick Grayson, before being locked up with a mob of dangerous thugs in ‘Crime and Punishment’, leaving the wonder kid to ferret out the real killer in tense conclusion ‘War and Peace’…

After a mere half-dozen superb stories the comic book adventures took a step towards total perfection when then-rising star Mike Parobeck assumed the pencilling duties. Although his professional comics career was tragically short (1989 to 1996, when he died, aged 31, of complications from Type 1 Diabetes) his gracefully fluid, exuberant, kinetically fun-fuelled animation-inspired style was a revelation. Parobeck revolutionised superhero action drawing and sparked a resurgence of kid-friendly comics and merchandise at DC and everywhere else in the comics publishing business.

Here his tenure began with ‘Raging Lizard!’, which sees shady pro wrestler Killer Croc confront a long dark night of the soul. In ‘Requiem for a Mutant!’ Croc’s scheduled to fight Masked Marauder – a grappler who humiliated and broke him in their last bout. Batman meanwhile is searching for Mandrake: a Chicago mobster planning on taking over Gotham City by ousting reigning crime czar Rupert Thorne in ‘Eye of the Reptile!’

Naturally all those trajectories converge in the third act for a major throw-down ‘Under the Waterfront!’…

TBA #8’s ‘Larceny, My Sweet’ begins with the hunt for an unstoppable thief who can ‘Break the Bank!’ with his bare hands, whilst TV reporter Summer Gleeson divides her time between chasing scoops and being romanced by a dashing stranger in ‘Love’s Lost Labours’. Sadly, when the Gotham Gangbuster crushes the crime-wave he also exposes monstrous old muck menace Clayface and accidentally ends the affair of ‘Beauty and the Beast!’

Next issue ‘The Little Red Book’ everyone’s chasing holds all Thorne’s dirty secrets and Commissioner Gordon is presiding over a ‘Gangster Boogie!’ With the cops and entire underworld looking to win out over ‘The Big Boss’, it takes all Batman’s energy and wits to bring the diary to DA Dent for the beginning of ‘Rupert’s Reckoning!’…

Ending the all-ages action is ‘The Last R?ddler Story’ which details ‘Nygma’s Nadir!’ as the perpetually frustrated Prince of Puzzlers considers retirement. Dispirited and despondent because the Caped Crusader always solves his felonious games, the villain grudgingly accedes to a faithful hench-person’s pleas to give it one more try in ‘Days of Wine and Riddles!’

How upset would Eddie Nygma be if he knew Batman isn’t even aware of him, absorbed as he is in apprehending infamous trio Mastermind, Mr. Nice and The Perfesser in ‘Triumph or Tragedy…?’

Breathtakingly written and iconically illustrated, these stripped-down rollercoaster-romps are quintessential Bat-magic: treasures every fan of any age and vintage will adore.

Pure, unadulterated delight!
© 1992, 1993, 2014 DC Comics. All Rights Reserved.

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Batman: The Golden Age volume 1


By Bob Kane, Bill Finger, Gardner Fox, Whitney Ellsworth, Sheldon Moldoff, Jerry Robinson, George Roussos & various (DC Comics)
ISBN: 978-1-4012-6333-1 (TPB/Digital edition)
Win’s Christmas Gift Recommendation: Vintage Comic book Perfection… 10/10

Next year marks Batman’s 85th Anniversary and we’ll be covering many old and new books about the Dark Knight over the year. However, why not pre-load the noir wonderment with this perfect compilation of how it all began. It’s not too big – like an Omnibus edition – or too small – like a measly pamphlet comic book – and would therefore make an ideal gift for the fan in your life (and we all know I mean you, right…)?

Batman: The Golden Age re-presents the Gotham Guardian’s earliest exploits in original chronological order, forgoing glossy, high-definition paper and reproduction techniques in favour of a newsprint-adjacent feel and the same flat, bright-yet-muted colour palette which graced the originals. There’s no fuss, fiddle or Foreword, and the book steams straight into the meat of the matter with the accumulated first year and a half of material featuring the masked mystery-man, plus all those stunning covers spanning Detective Comics #27-45, Batman #1-3 and the Dynamic Duo’s story from New York World’s Fair Comics 1940. That cumulatively covers every groundbreaking escapade from May 1939 to November 1940.

As Eny Fule Kno, Detective #27 featured the Darknight Detective’s debut in the ‘Case of the Chemical Syndicate!’ by Bob Kane and as yet still anonymous close collaborator/co-originator Bill Finger.

A spartan, understated yarn introduced dilettante playboy criminologist Bruce Wayne, drawn into a straightforward crime-caper as a cabal of industrialists are successively murdered. The killings stop when an eerie figure dubbed “The Bat-Man” intrudes on Police Commissioner Gordon’s stalled investigation to ruthlessly expose and deal with the hidden killer.

The following issue saw the fugitive vigilante return to crush ‘Frenchy Blake’s Jewel Gang’ before encountering his very first psychopathic killer and returning villain in Detective Comics #29. Gardner Fox scripted these next few adventures beginning with ‘The Batman Meets Doctor Death’, in a deadly duel of wits with deranged, greedy general practitioner Karl Hellfern and his assorted instruments of murder: the most destructive and diabolical of which was sinister Asiatic manservant Jabah…

This is my cue to remind all interested parties that these stories were created in far less tolerant times with numerous narrative shortcuts and institutionalised social certainties expressed in all media that most today will find offensive. If that’s a deal-breaker, please pass on this book… and most literature, pop songs and films created before the 1960s…

Confident of their new villain’s potential, Kane, Fox and inker Sheldon Mayer encored the mad medic for the next instalment and ‘The Return of Doctor Death’, before Fox & Finger co-scripted a 2-part shocker debuting the first bat-plane, Bruce’s girlfriend Julie Madison and undead horror The Monk in an expansive, globe-girdling spooky saga. ‘Batman Versus the Vampire’ concluded the tale with an epic chase across Eastern Europe and a spectacular climax in a monster-filled castle in issue #32.

Detective #33 featured Fox & Kane’s ‘The Batman Wars Against the Dirigible of Doom’: a blockbusting disaster thriller which just casually slips in the secret origin of the grim avenger, as mere prelude to intoxicating air-pirate action, before Euro-trash dastard Duc D’Orterre finds his uncanny science and unsavoury appetites no match for the mighty Batman in ‘Peril in Paris’.

Bill Finger returned as lead scripter in issue #35, pitting the Cowled Crusader against crazed cultists murdering everyone who had seen their sacred jewel in ‘The Case of the Ruby Idol’ – although the many deaths are actually caused by a far more prosaic villain. Inked by new kid Jerry Robinson, grotesque criminal genius ‘Professor Hugo Strange’ debuted with his murderous man-made fog and lightning machine in #36, after which all-pervasive enemy agents ‘The Spies’ prove no match for the vengeful Masked Manhunter in DC #37.

Detective Comics #38 (April 1940) changed the landscape of comic books forever with the introduction of ‘Robin, The Boy Wonder’: child trapeze artist Dick Grayson – whose parents are murdered before his eyes – thereafter joins Batman in a lifelong quest by bringing to justice mobster mad dog Boss Zucco…

After the Flying Grayson’s killers were captured, Batman #1 (Spring 1940) opened proceedings with a recycled origin culled from portions of Detective Comics #33 and 34. ‘The Legend of the Batman – Who He Is and How He Came to Be!’ by Fox, Kane & Moldoff delivers in two perfect pages what is still the best ever origin of the character, after which ‘The Joker’ (Finger, Kane & Robinson – who also produced all the remaining tales in this astonishing premiere issue) launches the greatest villain in DC’s pantheon via a stunning tale of extortion and wilful wanton murder.

‘Professor Hugo Strange and the Monsters’ follows as an old adversary returns, unleashing laboratory-grown hyperthyroid horrors to rampage through the terrified city whilst ‘The Cat’ – who later added the suffix ‘Woman’ to her name to avoid any possible doubt or confusion – plies her felonious trade of jewel thief aboard the wrong cruise-liner and falls foul for the first time of the dashing Dynamic Duo.

The initial issue ends with the ‘The Joker Returns’ as the sinister clown breaks jail to resume his terrifying campaign of murder for fun and profit before “dying” in mortal combat with the Gotham Guardians.

Following a superb pin-up (originally the back cover of that premier issue) of the Dynamic Duo by Kane, tense suspense and all-out action continues in Detective #39 and Finger, Kane & Robinson’s ‘The Horde of the Green Dragon’ – “oriental” Tong killers in Chinatown – after which ‘Beware of Clayface!’ sees the Dynamic Duo solving a string of murders on a film set which almost sees Julie Madison the latest victim of a monstrous movie maniac…

Batman and Robin solved the baffling mystery of a kidnapped boy in Detective #41’s ‘A Master Murderer’ before enjoying their second solo outing in a quartet of comics classics from Batman #2 (Summer 1940). It begins with ‘Joker Meets Cat-Woman’ (Finger, Kane, Robinson & new find George Roussos) wherein svelte thief, homicidal jester and a crime syndicate all tussle for the same treasure. with our Caped Crusaders caught in the middle.

‘Wolf, the Crime Master’ then offers a fascinating take on the classic Jekyll & Hyde tragedy after which an insidious and ingenious mystery ensues in ‘The Case of the Clubfoot Murderers’, before Batman and Robin confront uncanny savages and ruthless showbiz promoters in poignant monster story ‘The Case of the Missing Link’.

‘Batman and Robin Visit the New York World’s Fair’ comes from the second New York World’s Fair Comics. Finger, Kane & Roussos followed the vacationing Dynamic Duo as they track down a maniac mastermind with a metal-dissolving ray, after which Detective Comics #42 again finds our heroes ending another murderous maniac’s rampage in ‘The Case of the Prophetic Pictures!’ before clashing with a corrupt mayor in #43’s ‘The Case of the City of Terror!’

An unparalleled hit, Batman stories never rested on their laurels. The creators always sought to expand their parameters, as with Detective #44’s nightmarish fantasy of giants and goblins in ‘The Land Behind the Light!’. Then, Batman #3 (Fall 1940) has Finger, Kane, Robinson & Roussos rise to even greater heights, beginning with ‘The Strange Case of the Diabolical Puppet Master’: an eerie episode of uncanny mesmerism and infamous espionage…

A grisly scheme unfolds next as innocent citizens are mysteriously transformed into specimens of horror, and artworks destroyed by the spiteful commands of ‘The Ugliest Man in the World’ before ‘The Crime School for Boys!!’ registers Robin infiltrating a gang who have a cruel and cunning recruitment plan for dead-end kids…

‘The Batman vs. the Cat-Woman’ lastly reveals the larcenous lady in well over her head when she steals for – and from – the wrong people…

The issue also offered a worthy Special Feature as ‘The Batman Says’ presents an illustrated prose Law & Order pep-talk crafted by Whitney Ellsworth and illustrated by Robinson.

The all-out action concludes here with a magnificent and horrific Joker jape from Detective Comics #45 as ‘The Case of the Laughing Death’ displays the Harlequin of Hate undertaking a campaign of macabre murder against everyone who has ever defied or offended him…

With full Creator Biographies and comic covers by Kane, Robinson & Roussos plus all the other general action ones by Fred Guardineer & Creig Flessel (crafted before the superheroes took over the front page forever), this is a stunning monument to exuberance and raw talent. Kane, Robinson and their compatriots created an iconography which carried the Batman feature well beyond its allotted life-span until later creators could re-invigorate it. They added a new dimension to children’s reading – and their work remains captivatingly accessible.

These primal stories set the standard for comic superheroes. Whatever you like now, you owe it to these stories. Superman gave us the idea, but writers like Finger and Fox refined and defined the meta-structure of the costumed crime-fighter. Where the Man of Steel was as much Social Force and wish fulfilment hero, Batman and Robin did what we ordinary mortals wanted to do. They taught bad people the lessons they deserved…

These are tales of elemental power and joyful exuberance, brimming with deep mood and addictive action. Comicbook heroics simply don’t come any better. More than anything else, this book serves to perfectly recapture the mood and impact of a revolutionary masked avenger and, of course, delights my heavily concealed inner child no end.
© 1939, 1940, 2016 DC Comics. All Rights Reserved.

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A Very DC Valentine’s Day


By Cecil Castellucci, Amanda Conner, Andy Diggle, Paul Dini, Ray Fawkes, Phil Hester, Kyle Higgins, Collin Kelly, Alisa Quitney, Jackson Lanzing, Peter Milligan, Ann Nocenti, Steve Orlando, Jimmy Palmiotti, James Robinson, Mark Russell, Mairghread Scott, Tim Seeley, Simon Bisley, Ben Caldwell, Aaron Campbell, Giuseppe Camuncoli, Mirko Colak, Andrew Currie, Javier Fernandez, Julio Ferreira, Julius Gopez, Sanford Greene, Stephanie Hans, Bryan Hitch, Frazer Irving, Kelley Jones, Nic Klein, Emanuela Lupacchino, Guillem March, John McCrea, Jaime Mendoza, Inaki Miranda, Robson Rocha, Thony Silas, Cam Smith, John Timms & various (DC Comics)
ISBN: 978-1401287665 (TPB/Digital edition)

After generations of incorporating seasonal occasions, milestones and themes into their regular chronology, in recent years comics publishers have started releasing special issues and compilations to single out those sale-enhancing moments. For DC, that process really began during their New 52 reboot…

Regrettably eschewing their own vast back catalogue of magnificently-limned genre romance material (still… maybe one day, hey?) the home of Batman, Superman and Wonder Woman released all-new anthologies exploring the many roads to and ways of loving.

In 2018, three one-shots – Young Monsters in Love #1, Young Romance: The New 52 Valentine’s Day Special #1 and Harley Quinn Valentine’s Day Special #1 – were tangled together as a celebratory tome which might entice less traditional fans…

We begin with Young Monsters in Love #1, which hit stores on February 7th 2018 carrying an April cover-date. It opens with a tale of Man-Bat wherein Kyle Higgins, Kelley Jones & colourist Michelle Madsen expose the bestial inner monologue of Kirk Langstrom’s ‘“Nocturnal Animal”’ as the self-mutated science renegade seeks to rekindle his romantic relationship with ex-wife Francine…

Tim Seeley, Giuseppe Camuncoli & Cam Smith also explore that theme of stability lost as Frankenstein, Agent of S.H.A.D.E. reviews his centuries-long relationship with “The Bride” in ‘Pieces of Me’ whilst Clark Kent and his son Jon learn a few hard truths about love and loss in ‘Buried on Sunday’. It’s a potentially shattering lesson for the Man of Steel and Superboy who seek to ensure that Solomon Grundy does not wallow in the eternal despair of bereavement as sensitively detailed by Mairghread Scott, Bryan Hitch & Andrew Currie…

Disgruntled Teen Titan/peripatetic ghost buster Raven discovers ‘The Dead Can Dance’ on a long-deferred Prom Night(mare) by Collin Kelly, Jackson Lanzing & Javier Fernandez, after which Paul Dini & Guillem March expose the cruel traumas of elementary school bullying when Deadman saves a lonely boy crushed and nearly killed by the annual purgatory of card-giving in ‘Be My Valentine’…

Swamp Thing loves and loses another frail and fragile human contact in the beautifully eerie ‘Heart-Shaped Box’ by Mark Russell & Frazer Irving, before Steve Orlando & Nic Klein push the parameters of amour and self-sacrifice when queer cop Maggie Sawyer seeks to stop a potential bloodbath as Monsieur Mallah & The Brain (of the Brotherhood of Evil) seek a way to further their impossibly complex relationship by looking backwards in ‘Visibility’…

Andrew Bennet (I, Vampire, by Alisa Quitney & Stephanie Hans) then experiences painful revelation when forced to accept a new role for his ever-maturing disciple in ‘The Turning of Deborah Dancer’, whereas Etrigan – The Demon – brutally challenges the entire infernal host to reach Jason Blood’s lost love in ‘To Hell and Gone’ by Phil Hester &Mirko Colak.

Amidst the madness of WWII, the warped wooing closes with a distressing brush-off letter to the Creature Commandos’ man-made vampire in ‘Dear Velcoro’, by James Robinson & John McCrea.

Heralding a shift from dark dilemmas to costumed courting – courtesy of the contents of Young Romance: The New 52 Valentine’s Day Special #1 (originally cover-dated April 2013) – our soap-opera sagas start with Catwoman reminiscing over her first meeting and troubled history with Batman in Ann Nocenti, Emanuela Lupacchino & Jaime Mendoza’s ‘Think it Through’…

Aquaman & Mera uncover unrequited love and reunite unquiet separated spirits in ‘The Lighthouse’ (by Cecil Castellucci & Inaki Miranda) before Batgirl Babs Gordon lets her guard down with a certified bad boy in Ray Fawkes & Julius Gopez’s ‘Dreamer’.

Superhero teammates Apollo & Midnighter revisit their first “ mad moment” mid-mission in ‘Seoul Brothers’ by Peter Milligan & Simon Bisley, whilst paragon legacy hero Nightwing makes all his old mistakes again with new foe/ally/love interest Ursa in ‘Another Saturday Night’ by Kyle Higgins & Sanford Greene…

One of the biggest and most touted draws of the New 52 was the sidelining of Lois Lane and shocking romantic entanglement of Superman and Wonder Woman. Here, Andy Diggle, Robson Rocha & Julio Ferreira depict the ultimate power couple in the early, exploratory stages of that relationship and learning via a shocking game of ‘Truth or Dare’ …until spiteful sirens and a possessed god of love violently object…

The final third of this torrid tome sees lunatic love bandit Harleen Quinzel hog the limelight and steal the show with an extended epic from the Harley Quinn Valentine’s Day Special #1: released on February 11th 2015 and once again cover-dated for the month of All Fools…

Written by Amanda Conner & Jimmy Palmiotti, and collaboratively illustrated by John Timms, Ben Caldwell, Aaron Campbell, Thony Silas and colourists Paul Mounts & Hi-Fi, ‘Just Batty Over You’ offers an hallucinogenic rollercoaster ride of passions and perplexing playfulness as The Joker’s former main squeeze espies and is enthralled by super-sexy Bruce Wayne who is a prize in a charity dating auction…

She determines to make him hers and the abduction part goes off pretty much as required. However, complicating the scheme is Harley’s own meandering grip on reality, Bruce’s many jobs and secrets, so very much over-applied and shared narcotic inducement, hench-folk who can only see the billionaire’s vast dollar-value and the perpetual interference of briny costumes activists The Carp and Sea Robin, who really want everybody to heed their message of marine environmental crisis…

Daft, delightful and delivered with perfect timing and elan, this lustful lark caps a supremely frothy and inconsequential diversion to charm casual and fully committed thrill seekers in equal amounts.
© 2013, 2015, 2018 DC Comics. All Rights Reserved.