Neal Adams’ cover for Batman #244 is probably one of the most famous and iconic comic book covers of its era. There are a number of good reasons for that, starting with the sheer drama of the moment it depicts, as our hero lies vanquished, perhaps even dead, at the feet of his greatest enemy, Ra’s al Ghul. Then there’s the strength of Adams’ composition, which frames that dramatic moment so perfectly, as well as the sophisticated coloring by Adams and Jack Adler, which wonderfully enhances the mood as well as the visual appeal of the illustration.
And then there’s the chest hair. Oh, and the nipples, of course. Mustn’t forget the nipples. Read More
Batman #243 picks up the ongoing Ra’s al Ghul storyline from the previous issue without missing a step –and with the welcome return to the proceedings of Ra’s’ co-creator, artist Neal Adams, who contributes the comic’s fine cover prior to rejoining writer Denny O’Neil and inker Dick Giordano for the story within. Read More
In addition to being a fine piece of artwork by Michael W. Kaluta, the cover of Batman #242 represents a minor milestone of sorts; outside of those for a small handful of giant-sized all-reprint issues, it was the first cover since October, 1969 for either Batman or its companion title, Detective Comics, not to have been drawn by Neal Adams. (That particular month, not so coincidentally, was the same one in which those titles’ editor at DC Comics, Julius Schwartz, introduced the Caped Crusader’s “Big Change” — a return to a moodier, more grounded approach to the hero that was largely inspired by what Adams had been doing over in Brave and the Bold for the last year or so.) Read More
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”.
As of March, 1971, my thirteen-year-old self was picking up Detective Comics on a fairly consistent basis — but it was a habit I’d acquired only recently (or perhaps I should say reacquired, as I’d been a regular reader of the title before, back in 1965-67). For that reason, I’d missed writer Denny O’Neil’s first two “League of Assassins” stories, which had run in issues #405 and #406, respectively. On the other hand, I had bought and read Detective #408, whose lead Batman story, though not scripted by O’Neil, had featured an attempt by the villainous Dr. Tzin-Tzin to eliminate the Darknight Detective at the League’s behest. So it wasn’t like I was completely unfamiliar with the sinister organization prior to my purchasing issue #411. Rather, I was intrigued by the little I knew — and though I realized I was coming in late, I was eager to catch up. Luckily, this third installment of O’Neil’s League saga didn’t depend very much on knowledge of the previous two at all — and what little I did need to know, I’d manage to pick up easily through the script’s unobtrusive exposition. Read More