Category: Graphic Novels

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Batgirl: Fists of Fury


By Kelley Puckett, Scott Peterson, Damion Scott, Vincent Giarrano, Phil Noto & various (DC Comics)
ISBN: 978-1-84023-820-4

After Gotham City was devastated by an earthquake (Batman: Cataclysm ISBN13: 978-1-56389-527-2) it was abandoned by the US government in a prescient foretaste of what happened to New Orleans after Hurricane Katrina (see also Batman: No Man’s Land Volumes 1-3, ISBN 13’s: 978-1-56389-564-7, 978-1-56389-599-9, and 978-1-56389-634-7 respectively). From the rubble, a few heroes struggled to protect the innocent. One of these was a new incarnation of Batgirl.

The crisis ended, a semblance of normality returned to the battered metropolis, and the new heroine got her own series. Mentored by Babs Gordon, the wheelchair-bound crime-fighter called Oracle (and the previous Batgirl) who now runs the Birds of Prey, the new wearer of the cape-and-cowl is something of a problem.

Raised as an experiment by martial arts super-assassin David Cain, she could not speak or communicate in any normal manner since her language centres were over-ridden by Cain 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 has become her guardian and teacher.

Her learning disabilities alleviated by a telepath, Cassandra Cain is beginning to adapt to a normal world, but things are still skewed since she defeated Lady Shiva – the most dangerous person on Earth – in a martial arts duel. By beating someone even Batman never could, she’s forced her close circle of new friends to look at her in a different way, and the inevitable challengers for Shiva’s title are now dogging her tracks…

This third collection of tales gathers together Batgirl #15, 16, 21, and 26-28: a seemingly disjointed array of stories that actually blend together surprisingly well.

Puckett and Peterson’s scripts are always lightning paced, sparsely dialogued and both have perfect ears for the great one-liner. The art from Damion Scott, Vincent Giarrano, Phil Noto, Robert Campenella and Jesse Delperdang is light and brisk with a delightful flavour of anime – if not quite manga – about it, and three of the six untitled stories (don’t ask me why) run the range from the dramatic tale of a mad scientist’s murder ray, a boy’s desperate plea to stop his dad becoming a killer and a purely manic tie-in to the Last Laugh company crossover event (Batman: the Joker’s Last Laugh ISBN: 978-1-84576-843-0) featuring a startling battle with intangible villain Shadow Thief.

The remaining three adventures deal with the fallout of Batgirl’s defeat of Shiva (set during the time of Batman: Bruce Wayne Murderer? – ISBN-13: 978-1-56389-913-3): a fast-paced, captivating treatise on girl friends a la Thelma and Louise (or perhaps Buffy and Faith) as Robin-in-training Spoiler briefly becomes Batgirl’s best buddy to train, talk trash about dads and generally take care of Gotham in the Big Man’s absence.

Spellbinding, overwhelmingly rapid-paced and brilliantly executed, these tales are a breakneck, supercharged thrill-ride that concentrates on non-stop action yet still manages to be heavily plot-based with genuine empathy and emotional impact. A perfect book to remind you just why and how comics are so great…

© 2001, 2002, 2004 DC Comics. All Rights Reserved.

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Runaways volume 5: Escape to New York


By Brian K Vaughan, Adrian Alphona, Takeshi Miyazawa & Craig Yeung (Marvel)
ISBN: 978-1-84653-408-9

The Runaways are a bunch of super-powered kids whose parents were secretly a cabal of would-be world conquerors called “The Pride”. These villains controlled Los Angeles without the citizens even knowing about it – which was why all the baddies and monsters hung around New York. After many trials and tribulations – including the loss of some of the original kids – the young absconders overthrew their progenitors, with the unwelcome result that LA has become an easy target for ambitious costumed ne’er-do-wells.

Placed with social services, the surviving runaways and a few new recruits took to the streets again, preferring life together and driven to protect the city they unwittingly endangered.

The underlying premise of this series is that adults can’t really be trusted, only your friends and comrades, and this volume (collecting volume 2, issues #7-12 of the monthly comic-book) weaves two plot strands together with engaging dexterity to illustrate the point, as the series finally dives head-first into the swirling chaos of full-on Marvel Universe continuity.

Karolina is the daughter of two extraterrestrials intent on conquest, but now they’re gone an alien prince lands on Earth claiming that he is the husband they arranged for her as a condition of truce between their warring civilisations…

When they were fighting their parents one of the few super-heroes to befriend the kids was the teleporting mutant Cloak, and when he’s accused of attempting to murder his symbiotic partner Dagger, the kids zip off to the Big Apple to clear his name, encountering such obstructive and overbearing luminaries as Captain America, Iron Man Spider-Man, Luke Cage and Wolverine as well as the skeevy New York underclass who are their East Coast counterparts…

Whereas I’m certainly more comfortable with the direction taken here, I acknowledge that some readers drawn in by the stylistic similarities to teen-oriented TV soap-operas might miss the angsty traumas and conflicts that have of necessity been down-played to make room for extra-fights and chases. It’s still wonderfully scripted though, very witty and dry with laughs and tension held in perfect balance.

Escape to New York is the best volume yet and Runaways is still a great “outreach” title to get new readers into comics. If you’re already a fan you might think of it as the ideal gift for that stubborn hold-out or perhaps your kids if they think you’re a bit weird to still be getting your jollies from printed matter…

© 2005, 2006, 2008 Marvel Characters Inc. All Rights Reserved. A BRITISH EDITION RELEASED BY PANINI UK LTD

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The Lagoon


By Lilli Carré (Fantagraphics Books)
ISBN: 978-1-56097-954-8

What do your comics sound like? What beats and rhythms echo behind your eyes when you absorb pictorial narrative?

The Lagoon presents snatches of young Zoey’s experiences growing up in a rural outpost where she, her parents and her grandfather live beside a cold black lagoon. Within the brackish, weed-choked mire a bizarre, monstrous beast dwells, but her family and the sundry other disparate souls who live nearby gladly tolerate it since it does no obvious harm.

In fact, over the years the incredible, indescribable call of the creature in the night has led to many odd happenings and disappearances. The plaintive cry of the creature obsesses and possesses the humans and as years pass Zoey loses everyone but her grandpa to the night-singer. Her time is taken up with music and learning the piano. But all anyone really hears is that plaint on the midnight breezes…

Dark, ambiguously chilling and comfortable at the same time, the naïve-ist illustration compulsively uses patterns and symbols to depict how sounds look and music appears while recounting the relationship of the creature – far, far more than a dumb beast – and the inevitably maturing and isolated young girl. This intensely experimental picture-parable is mesmerising and powerfully effective for all its brevity.

Lilli Carr̩ first drew critical attention with her short stories (collected as Tales of Woodsman Pete) and this slim black and white tome Рher first graphic novel Рis another whimsical, expressive and bleakly enchanting exploration of great power and gentle lyricism. Far from our own self-created genre-ghettos this is a perfect book for the discerning reader in search of something different.

© 2008 Lilli Carré. All Rights Reserved.

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The Books of Magic


By Neil Gaiman, John Bolton, Scott |Hampton, Charles Vess & Paul Johnson (Vertigo)
ISBN13: 978-1-85286-470-5

Way back when Neil Gaiman was just making a name for himself at DC he was asked to consolidate and rationalise the role of magic in that expansive shared universe. Over the course of four Prestige Format editions a quartet of mystical champions (thereinafter known as “the Trenchcoat Brigade”) took a London schoolboy on a Cook’s Tour of Time, Space and Infinite Dimensions in preparation for his becoming the most powerful wizard of the 21st Century, and an overwhelming force for Light or Darkness.

Shy, bespectacled Timothy Hunter is an inoffensive lad unaware of his incredible potential for Good or Evil (and yes, I know who he looks like but this series came out eight years before anybody had ever heard of Hogwarts, so get over it). In an attempt to keep him righteous the self-appointed mystic guides provide him, and us, with a full tutorial in the history and state of play of The Art and its major practitioners and adepts. However, although the four guardians are not united in their plans and hopes for the boy, the “other side” certainly are. If Hunter cannot be turned to the Dark he has to die…

In Book one, ‘the Invisible Labyrinth’ painted by John Bolton, The Phantom Stranger shows Tim the history of magic with introductions to Lucifer, Atlantis, the Ancient Empires, Jason Blood and the boy Merlin, Zatara and Sargon the Sorcerer.

Scott Hampton illustrates the second chapter wherein John Constantine hosts a trip to ‘the Shadow World’ of the modern DCU, introducing the lad to contemporary players such as Deadman, Madame Xanadu, the Spectre, Doctor Fate, Baron Winter (of Night Force fame), Dr. Thirteen the Ghost-Breaker and Zatanna, who organises a trip to a mage’s bar where the likes of Tala Queen of Darkness and the diabolical Tannarak take matters into their own wicked hands.

Dr. Occult (created by Jerry Siegel and Joe Shuster years before Superman debuted) takes the boy on a journey to the outer lands and the Realms of Faerie, courtesy of Charles Vess in ‘the Land of Summer’s Twilight’: a beautiful, evocative segment that informs much of Timothy Hunter’s life in the Vertigo comicbook series and graphic collections that inevitably spun off from this saga. Cameos here include Warlord, Nightmaster, Amethyst and Gemworld, the Demon, Cain, Abel and the Sandman.

‘The Road to Nowhere’ is painted by Paul Johnson and concludes the peregrination as the ruthlessly fanatical Mister E takes the boy to the end of time, where he has his own plans for him. Beyond Darkseid and the climactic battles and crises of our time, past the Legion of Super Heroes, the end of Order and Chaos, to the moment Sandman’s siblings Destiny and Death switch off the dying universe, Tim sees how everything ends before returning to make his choice: Good or Evil, Magic or mundane?

Despite an “everything and the kitchen sink” tone this is still a cracking good yarn as well as a useful scorecard for all things supernatural, and which still has overwhelming relevance to today’s DC universe. It still stands a worthy primer for newcomers who need a little help with decades of back-story which cling to so many DC tales, even today.
© 1990, 1991, 2001 DC Comics. All Rights Reserved.

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Watchmen


By Alan Moore & Dave Gibbons (DC Comics)
ISBN13: 978-1-85286-024-0

I’m not going to review Watchmen: there’s already too much hype around because of the movie. But since that kind of media overkill can have a detrimental effect on a property I am going to tell you why – and even how – you should read the graphic novel.

Originally released as a twelve-part maxi-series from September 1986 to October 1987, the work was originally commissioned as a reworking of the Charlton Comics “Action Hero” line (Blue Beetle, The Question, Peacemaker, Nightshade, Thunderbolt and Captain Atom) and follows the events that develop after one of those characters is murdered on an Earth very like yet radically different from our own.

That’s all the plot you get from me.

Watchmen is the perfect example not only of the perfect superhero tale, liberated as it is from the commercial tyranny of periodical publishing, but also of just how the nature of graphic narrative, the seamless marriage of picture, word and symbol, fundamentally differs from all other art forms.

Comics as a business cannot allow valuable properties to wither or die. Their intrinsic value is not as vehicles for great stories but as a means of assuring sales. Superman, Robin Hood, Captain America (and Bucky), Leonidas of Sparta, Hal Jordan, Roland, Barry Allen: in the pantheon of heroic mythology who stayed dead and who got better (or worse yet, replaced)? The great themes of Life and Death, Courage and Responsibility, Duty, Sacrifice and Victory lose their worth if the hero has a guaranteed “get out of Valhalla free” card.

And I’m not saying that any film, TV show, radio play, novelisation or even musical of a graphic novel is necessarily less good than the original material – but they are never a substitute or successor to it. Beyond a basic, fundamental sharing of textual moments and characters they are different. And it works both ways: I don’t care who draws Casablanca or scripts House on the Borderland; the only way to appreciate a masterpiece is in the original form that its creators crafted. Everything else is well- intentioned homage or scurrilous cashing in no matter how much you enjoyed it, or indeed how well the adaptation worked on its own terms. Kubick’s The Shining is not Steven King’s, Romeo and Juliet is a play, not an extended pop-video, and not even a ballet; and South Pacific is a great musical but not the awesome novel written by James A. Michener.

How many of you who have read League of Extraordinary Gentlemen or V For Vendetta prefer or are even honestly satisfied by their filmic incarnations?

Watchmen uses its antecedents; it cherishes and celebrates them. It tells a tale with a beginning, a middle and a conclusive end, and tells it brilliantly. It neither deconstructs nor wields a revisionist machete to the core themes of super-heroic tradition. Crusading Legacies, Justice rendered by the individual not society, Costumes, Gadgets, even death-traps and masterminds are accepted on their own terms, not cynically mocked whilst being exploited.

The art by Dave Gibbons is superb and usually understated. At no moment is the reader unsure how to proceed, never does the drawing kidnap the attention, and at no time in this alternate world do we break the flow to wonder at what the intention was: whilst reading, that world is completely real.

Whatever your position on the film, positive or not, I beg you to read the book if you haven’t already. And I’ll even provide these handy “rules for reading Watchmen”:

1) Read the text pages: they’re important and there for a reason.

2) Look at each picture properly: what’s happening at the back, middle and sides of the panel are usually more important than what’s occurring in the foreground.

3) Pay attention: this is not a work to browse. Everything, EVERYTHING has been constructed to work as part of a perfectly completed whole. Nothing is irrelevant – not even the pirate comics stuff.

I’m writing this using my 1987, Graphitti Designs limited, slip-cased collected edition which has loads of extra features in the back but there are many versions available. Heck, even my local library has a couple of copies. There is no better superhero tale ever told. You owe it to yourself to see it in the manner it was made for.

© 1986, 1987 DC Comics. All Rights Reserved.

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Teen Titans: Titans East


By Geoff Johns, Adam Beechen, Tony Daniel, Peter Snejbjerg, Al Barrionuevo, Chris Batista & various (DC Comics)
ISBN13: 978-1-84576-607-8

After the never-ending calamity of the DC Infinite Crisis event, the company re-set the time line of all their publications to begin One Year Later.  This enabled them to refit their characters as they saw fit, provide a jumping on point for new converts and also give themselves some narrative wiggle-room.

Following the first major story-arc after the One Year Later reboot (Titans Around the World: ISBN13: 978-1-84576-442-5) the Teen Titans soon settled back into the rather chaotic and fearfully muddled sub-plotlines of old. This volume, collecting issues #42-47, revives the Pre-Crisis on Infinite Earths concept of Titans East as a villainous teen counterpoint to the junior heroes, but only after a wonderfully engaging origin for the satanic side-kick, Blue Devil.

‘Devil-May-Care’ is by Geoff Johns and Peter Snejbjerg, with delicious colouring from Richard and Tanya Horie. Following directly on is the main event as Deathstroke the Terminator organizes Batgirl, Match (a Bizarro clone of Superboy), super-speedster Inertia, Kid Crusader, Sungirl, Red Hood (AKA Jason Todd), and former Teen Titans Risk, Bombshell, Riddler’s Daughter and Duella Dent (The Jokester’s Daughter) into his latest weapon.

Terminator’s daughter Rose (or Ravager to you) had finally shaken off her father’s influence and joined the forces of good, and even been instrumental in resurrecting her brother Jericho. Now their deranged and deadly dad wants them back and is prepared to do anything to achieve his aims.

This decidedly fan-specific saga is scripted by Johns and Adam Beechen, with art from Tony S. Daniel, Al Barrionuevo, Jonathan Glapion, Edwin Rosell and Bit, and although the epic is of very high quality if you’re au fait with the intricacies of the continuity it is perhaps a little involved for new readers.

The volume’s final tale ‘Of Clowns and Clones’, by Beechen, Chris Batista and Glapion is both epilogue to preceding events and a nominal introduction to the mega-crossover event Countdown to Final Crisis as the team gathers to investigate the murder of Duella Dent. The slaying by a Monitor is one of the key triggers for the whole saga and provides a lot of character insight for two of the major players, Donna Troy and Jason Todd. If you’ve followed the multiversal saga this vital chapter might otherwise have escaped your notice.

Steeped in both DC trivia and super-hero lore this is a great piece of work for the already-converted, but might be hard-going for casual or neophyte readers.

© 2007 DC Comics. © 2005, 2006 DC Comics. All Rights Reserved.

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Showcase Presents Batman Volume 3


By Gardner Fox, John Broome, Sheldon Moldoff & various (DC Comics)
ISBN13: 978-1-4012-1719-8

After three seasons (perhaps two and a half would be closer) the Batman TV show ended in March, 1968. It had clocked up 120 episodes since the US premiere on January 12, 1966. The era ended but the series had had an undeniable effect on the world, the comics industry and most importantly on the characters and history of its four-colour inspiration. Most notable was a whole new super-heroine who became an integral part of the DC universe.

This astoundingly economical black and white compendium collects all the Batman and Robin yarns from Batman #189-201 and Detective Comics #359-375 (the back-up slot therein being delightfully filled at this time by the whimsically wonderful Elongated Man strip – which I really must get around to reviewing). The 33 stories here – written and illustrated by the cream of editor Julie Schwartz’s elite and extensive stable of creators – slowly evolved over the seventeen months covered here from an even mix of crime, science fiction, mystery, human interest and super-villain vehicles to a much narrower concentration of plot engines. As with the television version, costumes became king, and then became unwelcome….

It all begins with the comic-book premiere of that aforementioned new character. 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 Barbara Gordon, mousy librarian and daughter of the venerable Police Commissioner into the superhero limelight. By the time the third season began on September 14, 1967, she was well-established.

A different Batgirl, Betty Kane, niece of the 1950s Batwoman, was already a comics fixture but for reasons far too complex and irrelevant to mention was conveniently forgotten to make room for the new, empowered woman in the fresh tradition of Emma Peel, Honey West and the Girl From U.N.C.L.E. She was pretty hot too, which is always a plus for television…

Whereas she fought the Penguin on the small screen, her paper origin features the no less ludicrous but at least visually forbidding Killer Moth in a clever yarn that still stands up today.

An old foe not seen since the 1940s was revived for Batman #189 (February 1967). Demented psychology lecturer Jonathan Crane was obsessed by the emotion of fear and turned his expertise to criminal endeavours (in World’s Finest Comics #3 and Detective #73) before vanishing into obscurity. With ‘Fright of the Scarecrow’ he was back for (no) good, courtesy of Fox, Sheldon Moldoff and Joe Giella, as this tense psycho-drama elevated him to the top ranking of Bat-rogues. ‘The Case of the Abbreviated Batman’ (Detective #360) by the same team was an old-fashioned crime-caper with mobster Gunshy Barton pitting wits against the Gotham Guardians whilst the March Batman‘s full-length ‘The Penguin Takes a Flyer… Into the Future!’, scripted by John Broome, mixed super-villainy and faux science fiction motifs for an enjoyable if predictable fist-fest.

Editor Schwartz preferred to stick with mysteries and conundrums in Detective Comics and #361’s ‘The Dynamic Duo’s Double-Deathtrap!’ was one of Gardner Fox’s best examples, especially as it’s drawn by the incredibly over-stretched Infantino and Greene. The plot involved Cold War spies and a maker of theatrical paraphernalia; I shall reveal no more to keep you guessing when you read it. The next issue, by Fox, Moldoff and Giella, featured another eccentric scheme by the Riddler on ‘The Night Batman Destroyed Gotham City!’

Batman #191 featured two tales by Broome, Moldoff and Giella staring with ‘The Day Batman Sold Out!’, a “Hero Quits” teaser with a Babs Gordon cameo, whilst the faithful butler took centre-stage in the charming ‘Alfred’s Mystery Menu’. ‘The True-False Face of Batman’ however, (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 the enigmatic Mr. Brains.

Fox scripted both ‘The Crystal Ball that Betrayed Batman!’ which featured an old enemy in a new guise and the Robin solo-story ‘Dick Grayson’s Secret Guardian!’ in Batman #192, for Moldoff and Giella who also handled his mystery-yarn ‘The Curious Case of the Crime-less Clues!’ in Detective #364, in which Riddler and a host of Bat-baddies again tested the brains and patience of the Dynamic Duo – or so it seemed….

Issue #365 featured ‘The House the Joker Built!’ by Broome, Moldoff and Giella which was nobody’s finest hour, but ‘The Blockbuster goes Bat-Mad!’, scripted by Fox for Batman #196, is a compensating delight, especially when accompanied by another “fair-play” mystery yarn starring The Mystery Analysts of Gotham City. ‘The Problem of the Proxy Paintings!’ is the kind of Batman tale I miss most these days: witty and urbane, a genuinely engaging puzzle without benefit of angst or histrionics.

‘The Round Robin Death Threats’ by Fox, Infantino and Greene was a tense thriller that stretched across two issues of Detective (#366 and #367 – an almost unheard of event in those reader-friendly days), a diabolical murder-plot that threatened to destroy Gotham’s worthiest citizens. The drama ended in high style with ‘Where There’s a Will… There’s a Slay!’ a chilling conclusion almost ruined by that awful title.

‘The Spark-Spangled See-Through Man!’ in Batman #195 introduced the radioactive villain Bag o’ Bones in a desperate attempt to get back to story-driven tales, though the ‘7 Wonder Crimes of Gotham City!’ (Detective #368) by the same creative team of Fox, Moldoff and Giella was a much more enjoyable taste of bygone times. Issue #196 led with a clever puzzler entitled ‘The Psychic Super-Sleuth!’ and finished well with another challenging mystery in ‘The Purloined Parchment Puzzle!’ (both by Fox, Moldoff and Giella) and 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…

Detective Comics #370 was by Broome, Moldoff and Giella, and related a superb thriller with roots in Bruce Wayne’s troubled youth. ‘The Nemesis from Batman’s Boyhood!’ was in many ways a precursor of later tales with an excellent premise and a soundly satisfying conclusion which proved that the needs of the TV shows were not exclusive or paramount. 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 dynamism that Sid Greene could be proud of but Gardner Fox probably preferred to forget.

Batman #199’s ‘Peril of the Poison Rings’ and ‘Seven Steps to Save Face’ are much better examples of the clever plotting, memorable maguffins and rapid pace that Fox was capable of, ably interpreted by Moldoff and Giella, whilst John Broome’s ‘The Fearsome Foot-Fighters!’ weak title masked a classy burglary-yarn and the regular art team began adding mood and heavy shadow to their endeavours. This issue (Detective #370) was the first Bat-cover that legend-in-waiting Neal Adams pencilled and inked – a welcome taste of things to come…

Batman #200 (cover-dated March 196b) was written by wunderkind Mike Friedrich for Moldoff and Giella. ‘The Man Who Radiated Fear!’ featured the revitalised Scarecrow, and with the TV show dying the pre-emptive rehabilitation of the Caped Crusader began right here in a solid thriller with few laughs and lots of guest-stars.

Fox returned to top form in Detective #373, with art by Chic Stone and Greene in a tale which favoured drama over shtick in ‘Mr. Freeze’s Chilling Deathtrap!’, whilst Gil Kane returned to ramp up the tension in the brutal vengeance fable ‘Hunt for a Robin-Killer!’ (Detective #374) and Stone and Giella coped well with the extended cast of villains in Batman #201’s ‘Batman’s Gangland Guardians!’, a brilliant action-packed enigma wherein his greatest foes become bodyguards to a hero…

This volume ends with Detective #374 and Fox, Stone and Greene’s ‘The Frigid Finger of Fate’ a chilling race to catch a precognitive sniper, which more than any other story signaled the end of the Camp-Craze Caped Crimebuster and heralded the imminent return of a Dark Knight.

With this third collection from “the TV years” of Batman, concluding by the Spring of 1968, the global Bat-craze and larger popular fascination with super-heroes – and indeed the whole “Camp” trend – was beginning to die. In comics, that resulted in the resurgence of other genres, particularly Westerns and supernatural tales. With Batman it meant a renaissance of passion, terror and a life in the shadows.

Stay tuned: the best is yet to come…

© 1967, 1968, 2008 DC Comics. All Rights Reserved.

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Batman Chronicles Volume 6


By Bob Kane & various (DC Comics)
ISBN13: 978-1-84576-963-5

This sixth volume of Batman, re-presented as per the original release schedule, encompasses Batman #10-11, Detective Comics #62-65 and World’s Finest Comics #5 and #6. America had entered World War II by this period and the stories – especially the patriotic covers – went all-out to capture the imagination, comfort the down-hearted and bolster the nation’s morale. One of the very best (and don’t just take my word for it – type “World’s Finest covers” into your search engine and see for yourselves – go on, I’ll wait) designed and executed by the astounding Jerry Robinson leads off this Bat-box of delights.

‘Crime takes a Holiday‘, (World’s Finest Comics #5, Spring, 1942) by Bill Finger, Bob Kane and Jerry Robinson, is a canny mystery yarn as the criminal element of Gotham “down tools”. Naturally it’s all part of a devious master-plan and just as naturally our heroes soon get to the bottom of it. The same creative team also produced ‘Laugh, Town Laugh!’ (from Detective Comics #62 April 1942) wherein the diabolical Joker goes on a murder-spree to prove to the nation’s comedians and entertainers who actually is the “King of Jesters”.

Batman #10 (April-May 1942) follows with another four classics. ‘The Isle that Time Forgot’ written by Joseph Greene, finds the Dynamic Duo trapped in a land of dinosaurs and cavemen, whilst ‘Report Card Blues’ also with Greene scripting, has the heroes inspire a wayward kid to return to his studies by crushing the mobsters he’s ditched school for. Robinson soloed and Jack Schiff typed the words for the classy jewel caper (oh, for those heady days when Bats wasn’t too grim and important to stop the odd robbery or two!) ‘The Princess of Plunder’ starring everyone’s favourite Feline Femme Fatale Catwoman, and the boys headed way out West to meet ‘The Sheriff of Ghost Town!’

This highly impressive slice of contemporary Americana came courtesy of Finger, Kane and Robinson, who also produced ‘A Gentleman in Gotham‘ for Detective Comics #63, as the Caped Crusader had to confront tuxedoed International Man of Mystery Mr Baffle, and the Crime Clown again in ‘The Joker Walks the Last Mile’ (Detective Comics #64 June 1942).

Obviously he didn’t as he was cover-featured and lead story in Batman #11 (June-July 1942). Bill Finger is credited as writer for ‘The Joker’s Advertising Campaign’ as well as the other three stories. ‘Payment in Full’ is a touching melodrama about the District Attorney and the vicious criminal to whom he owes his life, ‘Bandits in Toyland’ explains why a gang of thugs is stealing dolls and train-sets and ‘Four Birds of a Feather!’ finds Batman in Miami to scotch the Penguin’s dreams of a crooked gambling empire.

There’s another cracking War cover and brilliant Bat-yarn from World’s Finest Comics #6 (Summer 1942) in ‘The Secret of Bruce Wayne!’ as Greene and Robinson provide a secret identity exposé tale that would become a standard plot of later years, and the volume ends as it began with a superb patriotic cover (this one by Jack Kirby and Joe Simon for Detective Comics #65) and a classic tale as Jack Burnley and George Roussos illustrate Greene’s poignant and powerful North Woods thriller ‘The Cop who Hated Batman!’

This tremendously inviting series of Golden Age greats is one of my absolute favourite collected formats: paper that feels comfortingly like old newsprint, vivid colours applied with a gracious acknowledgement of the power and limitations of the original four-colour printing process and the riotous exploratory exuberance of an industry in the first flush of hyper-creativity.

If only other companies such as Marvel, Archie and the rest had as much confidence in their back-catalogue as to follow suit. Who could resist economical, chronologically true collected editions of Bill Everett’s Sub-Mariner, Airboy, Dick Briefer’s Frankenstein; even Bark’s Duck stories, EC editions or CC Beck’s original Captain Marvel?

Certainly not me, and probably not you neither…

© 1941-1942, 2008 DC Comics. All Rights Reserved.

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Green Lantern Corps: Ring Quest


By Peter J.Tomasi, Patrick Gleason & various (DC Comics)
ISBN: 978-1-84856-116-8

Following on from the bombastic Sinestro Corps War, this volume (collecting Green Lantern Corps issues #19, 20 and 23 through 26) of the space opera/cop procedural drama finds the battered but triumphant interstellar peacekeepers on a deadly clean-up duty.

Dispatched by the Guardians of the Universe to collect or confiscate the deadly yellow power rings of their dead foes, an elite team of GLs is ambushed by the monstrous son of Mongul, a ruthless alien despot who controls one of the most insidious and horrifying weapons in creation. And now he’s started collecting yellow rings and rebuilding the Sinestro Corps…

Glossy and gritty, it’s tension and confrontation all the way in this highly readable thriller, but there’s still room for a few “buddy-movie” moments as Earth Lanterns Guy Gardner and Kyle Rayner spend their downtime trying to open a cop-bar on the Guardian’s precinct-planet Oa…

Although this is highly continuity-dependent, determined newcomers will still be able to extract a vast amount of histrionic enjoyment out of this explosive action-blockbuster – and you could always buy the other volumes to get caught up…

© 2008 DC Comics. All Rights Reserved.

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Jack of Fables volume 1: The (Nearly) Great Escape


By Bill Willingham, Matthew Sturges, Tony Akins & Andrew Pepoy (Vertigo)
ISBN13: 978-1-84576-451-7

Fables are refugee fairytale, storybook and legendary characters that fled to our mundane Earth from their various mythic realms to escape conquest by a mysterious and unbeatable Adversary. Keeping their true nature hidden from humanity they have created enclaves where their immortality, magic and sheer strangeness (such as the talking animals sequestered on a remote farm in upstate New York) do not threaten the life of uneasy luxury they have built for themselves. Many of these immortals wander the human world, but always under an injunction not to draw attention to themselves.

In Fables: Homelands (ISBN: 1-84576-124-3) the completely amoral Jack of the Tales (everyman hero of Beanstalk, Giant-killer, Frost fame) does just that by stealing Fabletown funds and becoming a movie producer, creating the three most popular fantasy films of all time.

Subject? Himself, of course.

An underlying theme of the series is that the more “mundies” (that’s mundane humans like you and me… well, you anyway) who think about a fable character, the stronger that character becomes. Books TV, songs, all feed their vitality. There must be something to it as this first volume collects issues #1-5 of Jack’s own comic, a series crafted much more with broad, adult, cynical humour as the driving force.

Discovered by the Fable Police, Jack was banished from Hollywood and ordered to disappear. Circumstance soon came to his aid – as it always does – when he is captured by the forces of Mr. Revise – an outlandish metaphysical martinet who has been “vanishing” Fables for centuries. With his beige, white-bread, matter-of-fact minions his self-appointed task is to contain these conceptual creatures, bowdlerising their life-stories until they become innocuous, forgotten and eventually Mundane…

Jack, however, is no ordinary Fable. Charming, cunning, totally self-absorbed and utterly ruthless he quickly makes many friends in the rest home-like gulag of fantastic creatures where he is imprisoned. He plans to escape – no matter how many of his fellow inmates he has to sacrifice to do it…

Playful, saucy, self-referential and wildly funny – with a few dark corners and sharp edges to keep the pulses pounding – this is a delightful whimsy for unshockable grown-ups who love stories. This is a perfect book for newcomers and jaded fantasists alike.

© 2006, 2007 Bill Willingham and DC Comics. All Rights Reserved.