December, 1968, saw the publication of the fourth issue of Neal Adams and Bob Haney’s run on Brave and the Bold — a partnership that had begun with the duo’s “The Track of the Hook” some six months earlier, and which was gradually evolving the image of Batman towards a darker, more mysterious vision, one closer to how he’d originally been concerned by Bob Kane and Bill Finger thirty years before. That vision was slowly becoming established as the proper take on the Caped Crusader in the minds of comics pros as well as fans (though there was as yet little evidence of its influence in the other series in which Batman regularly appeared). And while this emerging new direction for Batman was inarguably driven almost entirely by the artistic efforts of Adams, Haney’s scripts — more grounded and serious than most of his earlier work with the character in BatB, which he’d produced during the TV show-inspired “camp” era — were consistent with the visual tone set by Adams’ drawings, and usually managed to carry their share of the weight in the ongoing enterprise of re-imagining DC Comics’ Darknight Detective. That was true even in the context of a story like “The Sleepwalker from the Sea!”, which brought one of the publisher’s more fanciful heroes into the increasingly gritty urban milieu of Gotham City. Read More
Somehow, someway, in the 18 months that I’ve been doing this blog — during which time I’ve written 26 posts tagged “Batman”, 8 tagged “Detective Comics”, and 14 tagged “Carmine Infantino” — I’ve neglected to write about a single one of the Batman stories Infantino drew for Detective during the corresponding span of time in the 1960s. And since I believe that Infantino’s artwork for the Caped Crusader holds up better after half a century than virtually any other aspect of the “New Look”/”Batmania” era of the character, that’s an oversight that needs to be rectified — which I am happy to do, at last, with this post. Read More
It’s a well-known fact of comic book history that, in the 1960’s, editor Julius Schwartz often came up with an idea for a cover, had one of his stable of artists draw it up, and only then assigned a writer to script a story around it. I don’t know if any of Schwartz’s fellow DC editors of the time followed a similar practice — but if there’s any one non-Schwartz cover of the mid-Sixties that might be considered a candidate for “cover first”, it’s surely the Carmine Infantino-Joe Giella cover of The Brave and the Bold #69, edited by George Kashdan.
That’s partly due to the fact that Infantino is the same artist who pencilled many of those classic covers for Schwartz’s books — but mainly, it’s because of that big, red, iron bat holding Batman prisoner. That visual is so bizarre and unlikely, yet also so striking and memorable, that I find it easier to believe that someone — whether Infantino, Kashdan, or someone else — came up with it all on its own, and then found a way to work it into a story, rather than that it emerged naturally during the plotting of the story it ultimately came to illustrate. Especially since “War of the Cosmic Avenger”, written by Bob Haney and illustrated by Win Mortimer, doesn’t really have a whole lot of use for the big red bat after the first few pages. Read More
If you’ve ever read this blog, the cover of Detective #354 should already be familiar to you. There it is, proudly displayed in the header above every post. Obviously, I have a lot of affection for this particular offering from the team of Carmine Infantino and Joe Giella, who contributed so many classic covers to this era of Batman comics (and even got to sign this one — not a routine occurrence at the time).
In some ways, it’s a head-scratcher that the cover is as effective as it is. A dozen or so thugs — none of them especially formidable-looking — are depicted standing in a half-circle around Batman, shaking their fists at him. The cover copy describes this as “The Caped Crusader’s most dangerous trap”. Really? Even in 1966, and even without taking the then-insanely-popular TV show’s weekly cliffhangers into consideration, I believe my eight-year-old self must have been skeptical of that claim. Sure, the odds are against him, but he’s Batman. These hoods aren’t even armed. Even if he’s not able to take them all down, our hero should at least be able to break free of this “most dangerous trap” and escape. And while those “force lines” drawn around the thugs’ brandished fists may be intended to make them look more threatening, the actual effect comes off as just a little bit silly. Read More
I’ve mentioned DC’s The Brave and the Bold in a couple of earlier posts. This comic got its start in 1955 as the home for a variety of historical adventure series, starring swashbuckling heroes like the Viking Prince, the Golden Gladiator, Robin Hood, and the Silent Knight. Later, it became a tryout book, showcasing new characters and concepts that could be spun off into their own series if their “pilot” issue sold well enough. In this iteration, the book saw the first appearances of the Suicide Squad, the “Silver Age” Hawkman, Metamorpho, and (most successfully) the Justice League of America. With its 50th issue, however, the book began a transition towards becoming a one-off team-up comic, with a rotating roster of (normally) two characters sharing cover-billing. My own first issue of The Brave and the Bold, #64, was the second to feature one of DC’s two most popular heroes, Batman, as one of the two headliners; over the next eighteen years, however, it would be succeeded by 132 more such team-ups starring the Caped Crusader. It was thus a typical issue of the series in terms of what was to come, if not what had gone before. Read More