But it was almost certainly the best of the bunch.
That’s really not surprising, given that the story was crafted by one of the most outstanding creative teams of the era — writer Denny O’Neil, penciller Neal Adams, and inker Dick Giordano — as well as that it, more than most of its fellows, aspired to be about something more than either the Parade itself, or conventional superheroic goings-on — something decidedly more serious, in fact — and was largely successful in achieving this aim, ultimately addressing the subject of the Holocaust in a dramatic, but sensitive, manner.
Nevertheless, the origins of this classic story in certain actual (but not very serious) events — and the appearance within its pages of several equally actual persons who either already were, or would soon become, well-known comics industry professionals — can’t help but be responsible for a certain amount of “Night of the Reaper!” lasting appeal. And it’s with those events, and persons, that we begin. Read More
Over the course of writer Denny O’Neil and artist Neal Adams’s classic early-’70s collaboration on Batman, the team was responsible not only for introducing one major new adversary (Ra’s al Ghul) to the ranks of the Darknight Detective”s greatest foes, but also for reclaiming and refurbishing of two vintage baddies who’d fallen out of favor in recent years. The second of these restorations to appear, “The Joker’s Five-Way Revenge!” (Batman #251 [Sept., 1973]), is doubtless the best-remembered of the two, due to its ultimately having had such a dramatic impact not only on the Bat-mythos, but on the DC Universe as a whole — rehabbing what had become a joke of a character (no pun intended) during the camp “Batmania” era of the mid-Sixties into the comics medium’s quintessential avatar of psychopathic evil — a character arguably more popular than all but a small handful of DC’s best-known superheroes, and one with enough cultural gravitas for screen portrayals of him to have earned Academy Awards for two different actors.
Panel from Detective #411. Text by Denny O’Neil (and, presumably, Julius Schwartz), art by Bob Brown and Dick Giordano.
Last month we took a look at Detective Comics #411, featuring the first appearance of Talia al Ghul, and the first mention of her father, Ra’s. As we noted at the time, despite that story giving the appearance of being one chapter in an extended story arc dating back to the first appearance of the League of Assassins in Detective #405, with the next installment already lined up for the very next issue of Batman, #232 (per a blurb in the story’s final panel), that wasn’t writer Denny O’Neil’s original intention at all. Rather, as he’d later tell fellow Bat-writer Mike W. Barr in an interview for Amazing Heroes #50 (July 1, 1984), Talia was created specifically “to serve the needs of that plot and that story [i.e., Detective #411’s “Into the Den of the Death-Dealers”], with no thought that she would ever appear again, or that she would have a father, or any of that stuff.” But somewhere in between the writer’s original conception and the story’s final published form, someone — perhaps Detective and Batman editor Julius Schwartz — had another idea; and the League of Assassins story arc, rather than concluding tidily with its third installment (fourth, if you count Detective #408’s “The House That Haunted Batman!”), instead became just the prelude to what was ultimately a much more influential saga, that of Ra’s al Ghul, “the Demon’s Head”.