Comic Book Review: Batman Archives Volume 1

Comic Book Review: Batman Archives Volume 1 written by Bill Finger & Gardner Fox, art by Bob Kane & Sheldon Moldoff

Batman was the second full-fledged superhero published by National Periodicals, soon to be better known as DC.  The kernel of the idea was proposed by artist Bob Kane, and fleshed out by writer Bill Finger, with a first appearance in Detective Comics #37.  As the Shadow was to Doc Savage, so Batman was to Superman, a skilled man operating in the shadows, rather than a superhuman operating in the light of day.  But both, of course, dedicated to justice in their own ways.

Batman Archives Volume 1

This “Archives” edition is a hardbound full-cover reprint of the Batman stories from Detective Comics #37-50.  I believe this was the first of this collector’s bait format, thus the “introductory price.”

We open, of course, with “The Case of the Criminal Syndicate.”  Police Commissioner Gordon is chilling with his young socialite friend Bruce Wayne, talking about rumors of a mysterious “Bat-Man.”  Gordon is informed of a murder among the wealthy citizens of the city, and Bruce tags along as he hasn’t got anything better to do.  Chemical syndicate head Lambert is dead, and the most likely suspect is his son.

The son claims he didn’t do it, and to lend credence to this claim, a call comes from Crane, one of Lambert’s three partners, explaining that both of them had threats made against their lives.  Bruce Wayne becomes bored and goes home.  Crane is murdered too, but before the murderer escapes with a certain paper, a mysterious Bat-Man appears, beats up the murderer and his partner and takes the paper.

From this, Batman is able to figure out which of the two remaining partners is the mastermind.  He saves the fourth partner, and punches the villain into a tank of acid.  Commissioner Gordon explains the plot to Bruce, who finds it all highly unlikely.  But in the last panel, we learn that Bruce Wayne himself is in fact the Batman!  What a twist!

The hyphen was quickly dropped, but Batman’s habit of killing opponents in the heat of battle took a bit longer to disappear.   The art is kind of crude, and the plot borrowed heavily from a Shadow pulp story, but the creators were on to something new in comics, and rapidly improved.  (Plus Bob Kane started having assistants to keep up with the work.)

#29 brings us “The Batman Meets Doctor Death.”  The title opponent is Batman’s first opponent with a catchy nom de guerre (his actual name is the pretty nifty Dr. Karl Hellfern), his first mad scientist enemy, and his first recurring enemy.  In the following issue, Doctor Death also becomes Batman’s first hideously disfigured villian, as his face is burnt off.  These two stories have unfortunate ethnic stereotypes as Doctor Death’s henchmen, and Gardner Fox’s lack of research into authentic ethnic background information is obvious.

Batman is also pretty careless with his secret identity of Bruce Wayne in this story; if Doctor Death had been just a little sneakier Batman’s double life would have been over only a few months after his debut.  There’s a cameo by the man who will become the Crime Doctor much, much later on, Bruce Wayne’s personal physician, who wonders how the lazy upper-class twit managed to shoot himself with no powder burn.

#31-32, “Batman Versus the Vampire” introduces Batman’s first full-fledged supervillain, the Monk, who wears a distinctive costume (red monk’s robes and a red hood with a skull & crossbones sigil), and as a vampire/werewolf has supernatural powers.  He and his sidekick (lover?) Dala kidnap Bruce Wayne’s fiancee Julie Madison (also appearing for the first time) for reasons never fully explained, and after much action and scary stuff, Batman puts silver bullets through their hearts.

This story also makes it clear that Batman operates in New York City, which was changed to Gotham City later for ease of fictionalization.

#33, “The Batman Wars Against the Dirigible of Doom” is most notable for finally getting around to telling us why Bruce Wayne runs around in a bat costume fighting crime.  This simple two-page origin would eventually be vastly expanded upon and become an important part of the mythos.

#34, “Peril in Paris” has Bruce Wayne run into a man without a face.  Who is not the villain of the story.  That’s the fellow who stole his face.  It’s still not back by the end of the story (and the flowers with women’s heads are not explained either), but this faceless fellow and his beautiful sister are the first people Batman reveals his true identity to.  And then are never seen again.

#36, “Professor Hugo Strange” introduces the title character, another mad scientist, who takes part of his inspiration from Professor Moriarty, but is also large and muscular, able to give Batman a good tussle even without his fog machine, monster men and other gimmicks.

#38 “Introducing Robin, the Boy Wonder” does just what it says.  Circus acrobat Dick Grayson loses his parents to criminals, and is taken in by Batman, who gives the lad a costume and training to become a crimefighter.  (He also reveals his identity to Dick off-camera.)  Thanks to this, Robin gets the quick closure that Batman never did by tracking down and convicting his parents’ killer.

Robin was the first superhero’s boy sidekick in comic books, and soon the market was flooded with them.  He lightened up the Batman character and gave the Caped Crusader someone to have dialogue with rather than think out loud to himself.

Also about this time, Batman got his own solo comic book series, but that’s another volume.

#40, “Beware of Clayface!” introduces the first villain to wear that name, crazed horror actor Basil Karlo (a riff on Basil Karloff, who was a swell guy in real life.)  Julie Madison begins her career as a movie actress.  In #49, the Basil Karlo Clayface returns (and then would not be seen again for decades) and Julie decides to break her engagement to Bruce for his fecklessness.  (Little realizing it’s only a cover for his activities as Batman.)

#44, “The Land Beyond the Light!” is the first full-on fantasy story for Batman, as the Dynamic Duo is transported to another dimension and interfere in a war between giants and little people.  It’s all Dick Grayson’s dream in the end, but soon such stories would become a regular thing.

#50 ends this volume with “The Case of the Three Devils.”  Three circus acrobats have turned to crime using devil costumes and their ability to pull off outrageous physical stunts.  They give Batman and Robin quite a chase before the Caped Crusaders can finally corner them.  Batman’s superior use of terrain gives him the victory.

Again, lots of exciting action portrayed in a new way for 1939-40.  Some plots are overly simplistic, while others become nonsensical if you think about them too carefully, but the writing gets much better as it goes along.   There’s also an illuminating foreword by comics scholar Rick Marschall.

This is a must have for the serious Batman collector; other Batman fans should check it out at the library to see the early development of the classic characters.

Comic Book Review: Showcase Presents: Batman, Volume 6

Comic Book Review: Showcase Presents: Batman, Volume 6 edited by Julius Schwartz

By 1971, the Batman television show had been off the air long enough that its sales boost to the Batman and Detective Comics series had faded, and with it, the incentive to model the magazines on the show.  Bruce Wayne moved from stately Wayne Manor to a penthouse in downtown Gotham City and started a charitable organization for victims of crime.  Dick “Robin” Grayson went off to college on the other side of the state, and guest-starred infrequently.  And most of Batman’s regular rogues’ gallery took a vacation.

Showcase Presents: Batman Volume 6

This freed up space for a more somber tone, although this run certainly had its own silliness, such as a return engagement by the Ten-Eyed Man, whose optic nerves had been transplanted into his fingers.  And Two-Face made an appearance for the first official time since the 1950s.  But quite a few of the stories had Batman facing off against ordinary murderers and organized crime…as well as what appeared to be ghosts and psychic powers.

This volume covers Batman 229-236 and Detective Comics 408-416.  The first story, “Asylum of the Futurians” pits the Caped Crusader against a group of apparent lunatics who’ve captured a photographer in the mistaken belief he possesses psychic abilities that will make him their leader.  (It’s never clear that the Futurians actually have ESP; it certainly doesn’t help against Batman; but then how do you explain the sudden impulse he had to investigate the neighborhood?)

Several stories are topical to the 1970s.  Thinly veiled versions of consumer advocate Ralph Nader and “participatory journalist” George Plimpton make guest appearances.  Stories featuring youth activism and black radicals have aged poorly; the latter mixes in a police corruption subplot, the end of which supposedly fixes injustice in the legal system of Gotham City.  Batman’s platitudes towards the radicals he’s fighting/helping come off as tone-deaf.

Other stories focus on Batman as the World’s Greatest Detective, revealing at the end the one clue he noticed where the criminal slipped up.  One, taking place at a production of Macbeth, involves the literal pricking of Batman’s thumbs.

The most notable plotline was the first appearances of Ra’s al Ghul and his daughter Talia.  Talia appeared first, helping Batman bring down Dr. Damien Darrk of the League of Assassins, who had fallen out with her father.  Then Ra’s contrived a scenario where both Robin and Talia were kidnapped in order to test Batman’s fitness to marry Talia (who had fallen for Bruce) and eventually take over his shadowy empire.

As created by writer Denny O’Neil and artists Dick Giordano and Neal Adams, Ra’s al Ghul was a mastermind in the Fu Manchu style (particularly the later novels.)  He controlled a vast criminal network, but did not consider himself a criminal, but rather humanity’s eventual savior.  Over his long life, Ra’s had become convinced overpopulation was the root of all the Earth’s problems.  Therefore he was going to do something about that.

Like Fah Lo Suee before her, Talia was conflicted between loyalty to her father and the desire to jump the hero’s bones.  Ra’s respected Bruce’s intelligence and skills enough to allow them to be mated, but only if Batman accepted a place as the Demon’s Head’s heir presumptive.  And no, Batman was not impressed by the “kill most of humanity to save the rest” plan.

After several encounters, Batman decides to take down Ra’s al Ghul once and for all, assembling a small team of specialists to help.  (This was the first appearance of the Matches Malone disguise, as Batman’s attempt to recruit the hitman went awry.)  After much ado, they finally catch up to the mastermind, or rather his corpse.

Except that it turns out Ra’s has access to something called the Lazarus Pit, which allows him renewed life and vigor at the cost of temporary insanity.  (This puts a different cast on an earlier story where Talia had supposedly believed her father dead.)  Eventually, Batman and Ra’s al Ghul must duel in single combat to determine which of them shall triumph in the last story of the volume.

This is nifty stuff, with some crackerjack writing and excellent art.  On the other hand, Talia’s personality is entirely defined in this storyline by her relationships with men, and she wavers back and forth between them as the plot demands.

Overall, this is a good run of Batman, and well worth requesting for the library, or even buying if you are a big Batman fan.  (Batgirl has a couple of blink-and-you’ll-miss-it cameos.)

Book Review: Goblin Quest

Book Review: Goblin Quest by Jim C. Hines

Jig has always lived in the mountain, only hearing third-hand stories about the outside world.  Even stepping outside the goblin warrens is dangerous, why risk going any further?  Still, he dreams of being promoted from his lamplighter duties (a child’s job) to a patrolling warrior.  Jig’s smart, but that counts little in goblin society when he’s also small and weak, with poor vision.

Goblin Quest

Then  one day Jig is bullied into acting as a scout for a lazy patrol, only to find himself captured by adventurers who have killed the rest of the goblin patrol.  A captive, Jig is forced to become a guide for the party of four.  There’s Prince Barius, a younger son touchy about his honor and his low status among his siblings; Ryslind, Barius’ brother whose magic seems to be adversely affecting his sanity; Darnak, a dwarven cleric and tutor to the brothers, and Riana, an elvish pickpocket who was also dragooned  into serving Barius.  It seems they’re after the Rod of Creation, a powerful artifact that supposedly created the mountain itself.  Jig’s chances of survival just keep dropping!

This is the first volume in the “Jig the Goblin” trilogy of comedic fantasy novels by Jim C. Hines, who was a Guest of Honor at Minicon 52.  It’s heavily based on the kind of “kill monsters and take their stuff” style of fantasy common to games of Dungeons & Dragons, and in specific seems to be parodying aspects of the Dragonlance series of D&D tie-in novels.

One of the common hallmarks of comedic fantasy is to tell the story from the viewpoint of someone who isn’t the typical hero of heroic fantasy stories, and in this case, it’s one of the “monsters” who would normally be cannon fodder to allow the protagonists to show off their prowess before getting to really tough opponents.

Jig is initially only sympathetic because of his underdog status; he’s cowardly, selfish and all too willing to let others suffer or die in his place.  As the story progresses, Jig has his horizons expanded as he learns about the adventurers from their perspective, and realizes that goblin social norms put them at an even greater disadvantage than they already had due to their small size and lack of technology.  He even finds a god!

Meanwhile, the adventurers are no heroes; Prince Barius’ motive for seeking the Rod is entirely self-centered, Ryslind has a hidden agenda, Darnak is at least honorable, but must serve the brothers’ will, and Riana is only serving due to a threat of prison or execution.

And that’s not getting into the truly strong and evil monsters that wait deeper within the mountain.

Once Jig is dragooned into the party, the plot is a fairly straightforward dungeon crawl with some backtracking towards the end.  The back half of the book reads quickly, and the ending is reasonably satisfying.

Recommended primarily for fans of the tabletop role-playing games the setting is based on.

Comic Book Review: The Batman Adventures Volume 2

Comic Book Review: The Batman Adventures Volume 2 written by Kelley Puckett, pencils by Mike Parobeck, inks by Rick Burchett

Batman: The Animated Series ran on Fox 1992-1995, and is considered one of the best animated TV series of all time, as well as one of the best adaptations of Batman outside comic books.  It spawned an entire DC Animated Universe set of series with its unique look and strong continuity.  The series also influenced the comics it had spawned from, creating the madcap Harley Quinn and her friendship with Poison Ivy (and suggesting they might be very close friends) and a new sympathetic backstory for Mr. Freeze, who had been a flat character before.

The Batman Adventures Volume 2

But more directly, there was a tie-in comic book series, The Batman Adventures.  It was written for younger readers than the mainstream DC Comics universe, although it could still handle some subject matter that the TV series had to shy away from.  The art was meant to evoke the style of the show, and frequently succeeded.  Rather than copy scripts from the TV series, most of the issues tell stories in between episodes.

Many  of the stories in this second volume revolve around secondary characters rather than Batman himself.  There are stories for Batgirl (taking place before her first appearance on the show), Robin and  the pair together.  Man-Bat, Talia, and Ra’s al Ghul each get a spotlight story, as does Commissioner Gordon.  There’s even an issue from the viewpoint of the Professor, a brainy guy who teams up with schemer Mastermind and reluctant master of violence Mr. Nice to steal nuclear weapons.  Their plan is foiled by one unexpected glitch….

The cover story is from issue #16, “The Killing Book.”  When the Joker discovers that the Gotham Adventures comic book depicts Batman always defeating him, the Clown Prince of Crime kidnaps an artist to draw the true-life stories of the Joker’s triumphs.  This one has a lot of meta-humor, from the titles of the chapters to the comics creators being roughly based on the real ones at DC.  The lighter nature of this series is shown by the Joker not actually killing anyone, though he tries to remedy this with a deathtrap for Batman.

The Scarecrow story in #19 is darker, as fear of the Scarecrow spreads over Gotham City, far in excess of his actual threat level.  He’s even invading Bruce Wayne’s nightmares of the death of his parents!   It turns out that Jonathan Crane isn’t the only ethically deficient scientist in Gotham this month.

Some bits in this series may be too scary for the youngest readers, but most ten year-olds and up should be fine.  Older readers will enjoy the in-jokes and references.

Recommended to fans of the cartoon, and parents of young Batman fans who aren’t ready for the very dark mainline comics.

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