NEXT: An iconic Batman artist.
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NEXT: An iconic Batman artist.
You know who Batman is. At least the gist of it. You’ve seen him in books or in films or on television, hopefully at his best. Probably, you’re even familiar with some of his supporting cast and rogues gallery, not to mention other heroes in the DC Universe. And even if you’re not necessarily willing to dive into the sprawling, entangled continuity of the regular Batman comics, you may still wish to visit this weird, fascinating world and have a good time…
With this in mind, every once in a while I recommend a selection of diverse worthwhile collections for readers who are just looking to get their hands on a sample of solid standalone tales starring the Caped Crusader. Here are some more options, all of them highly entertaining:
THE BRAVE AND THE BOLD – THE BRONZE AGE OMNIBUS: VOL.1 (2017)
Let’s start with the most expensive suggestion… The Brave and the Bold – The Bronze Age Omnibus: vol.1 is a monster of a book, collecting 34 issues of Bob Haney’s legendary run on The Brave and the Bold (plus one written by Dennis O’Neil and one by Mike Sekowsky), originally published between 1967 and 1973 (specifically, issues #74 to #109). Ostensibly, the high concept of this series was that each issue told a self-contained yarn in which Batman joined forces with another hero, but the true appeal was Haney’s carefree approach to storytelling, constantly shifting gears and throwing surprises at the reader. At the turn of every page, there could be a shocking reveal and a dramatic change of stakes. Without losing a beat, a gritty crime story would morph into a supernatural horror story, a character would suddenly turn out to be an alien (or the Devil, or Hitler), or – as pictured above – an issue would kick off with the proudly anti-gun Dark Knight viciously charging against criminals while shooting a weapon, John McClane-style!
The ensuing comics were fiendishly fun, ferociously paced, and sometimes freaking bizarre – especially the ones in the final third of this collection, after the iconic Jim Aparo took over the art duties and filled the thing with tilted angles (again, check out that title page!). You can see Bob Haney’s gonzo imagination filter both pop culture (the chase scene through Vienna’s sewers in ‘Count Ten… and Die!’ pays homage to the film noir The Third Man, ‘A Traitor Lurks Inside Earth!’ is a madcap version of the sci-fi thriller Colossus: The Forbin Project) and contemporary anxieties (besides the ubiquitous Cold War politics, there are several references to the civil rights’ struggles, including a couple of baffling takes on the youth movement in ‘Rebels in the Streets’ and ‘The Commune of Defiance’).
To top it off, not only did the Caped Crusader team up with A-list superheroes like the Flash, Green Lantern, and Wonder Woman (during that phase when she became a mod martial artist), but Bob Haney also threw in quirkier DC properties such as Metamorpho and the Metal Men. In particular, it was a hoot to see Haney play with the oddball creations of Jack Kirby, which is why the second ombinus will be even more amazing, as it should contain the issues with the super-escape artist Mr. Miracle and the creatures from Kamandi – The Last Boy on Earth! (Kirby’s post-apocalyptic comic that makes Escape from New York, The Omega Man, and the Mad Max saga look like grounded visions of the future).
(By the way, if you’re curious about Bob Haney’s early work on this series, you can also find it in Batman Illustrated by Neal Adams: vol. 1.)
THE BRAVE AND THE BOLD: THE FEARSOME FANGS STRIKE AGAIN! (2011)
In 2008, DC revived the idea of an over-the-top adventure series in which Batman teamed up with other heroes, blowing fans’ minds with both a memorable TV show and a colorful funhouse ride of a comic. The Fearsome Fangs Strike Again! collects six issues written by J. Torres and Landry Walker, who totally go for broke as they embrace the wondrous goofiness of the material, maniacally brought to life by the cartoony art of J. Bone, Carlo Berberi, and Eric Jones.
Working alongside wacky versions of the Doom Patrol, Green Arrow, the Atom, and Adam Strange (plus a number of priceless cameos), throughout the book the Caped Crusader faces the villainous fashion designer Mad Mod, gets turned into a giant mutant monster, and saves the universe more than once. Along the way, we also get a surprising allegory about Tibet and the Christmas story to end them all!
Unapologetically cheerful and kid-friendly, this iteration of The Brave and the Bold is about as far from Zack Snyder’s self-important, grim this-is-not-your-daddy’s Batman crossover as you can get, even if it also bursts with action-packed fantasy!
FOUR OF A KIND (1998)
Four of a Kind collects four annual issues from 1995 reimagining Batman’s first encounters with notorious members of his rogues’ gallery, namely the seductress Poison Ivy, the puzzle-obsessed Riddler, the frightful Scarecrow, and the deformed Man-Bat. These are nifty, well-crafted tales with plenty of wit and excitement, fleshing out key villains as they face a still relatively fallible Dark Knight (the stories take place very early in Batman’s crime-fighting career).
The tales in this book are written by Alan Grant, Chuck Dixon, and Doug Moench, the trio responsible for the majority of the Batman output in the nineties. Here, they don’t try to reinvent the wheel or anything… Instead, they take the neatest ideas from the old comics that originally introduced these characters and confidently deliver smart, satisfying remakes. (I love how Dixon – unlike many other writers – doesn’t spell out the answers to the Riddler’s clues, he just casually integrates them into later panels, like in the excerpt above.)
And don’t be fooled by the book’s ugly cover – the inside art is as sleek as the writing, with Kieron Dwyer and Richmond Lewis giving the Riddler story a particularly cool look. The Poison Ivy one also stands out, as the art team of Brian Apthorp, Stan Woch, and Linda Medley put together one stunning sequence after another, including an unforgettable double page splash of a kiss (which really drives home the point that some people are poison).
LEGENDS OF THE DARK KNIGHT: MARSHALL ROGERS (2011)
This book collects the various Batman comics illustrated by the brilliant artist Marshall Rogers, who – between 1977 and 2005 – worked with several great writers in the field, including Steve Englehart, Len Wein, Dennis O’Neil, and Archie Goodwin.
I’ve already written a bit about these issues in the past, so I won’t go into too much detail. Suffice to say that Marshall Rogers’ appealing designs and graceful pencils are a pure joy to behold – especially when they’re inked by Terry Austin – and that here his art is at the service of some of the finest damn Batman stories out there!
SHADOW OF THE BAT: VOL.1 (2016)
With art by Norm Breyfogle, Dan Jurgens, and Tim Sale, this is the first collection of the early ‘90s series Shadow of the Bat, which supposedly pointed the spotlight at different heroes and villains who crossed paths with the Dark Knight. In fact, the series seemed more like an excuse to let writer Alan Grant go wild and do whatever he felt like after having bonded him to the continuity-heavy regular Batman title for a while. The results were lively and edgy and, often, mystifyingly twisted.
The two main stories here are ‘The Last Arkham’ and ‘The Misfits.’ In the former, unorthodox psychiatrist Jeremiah Arkham becomes the new director of Arkham Asylum and has Batman committed to the institution (besides Jeremiah, this tale introduced what would become two recurrent Arkham inmates: the sinister Zsasz and the brutish Amygdala). In the latter story arc, a group of notoriously lame villains – including Killer Moth and Calendar Man – set out to prove themselves by kidnapping Gotham’s Mayor, Commissioner Gordon, and Bruce Wayne, so it’s up to Robin (Tim Drake) to save the day!
In addition, you get to read a couple of jabs at social relevance (such as the unbelievably gritty drug tale ‘The Black Spider’) and a couple of outlandish adventures (including ‘The Human Flea,’ in which Mortimer Kadaver – a villain with a death-fetish – tries to turn Gotham City into a giant mausoleum), all written in Alan Grant’s bombastic, in-yer-face style.
THE STRANGE DEATHS OF BATMAN (2009)
I’ll end with a recommendation for those in the mood for something even more offbeat: riding the wave of 2008’s Batman R.I.P. storyline, DC put out this collection of zany superhero tales about the Caped Crusader kicking the bucket. Bear in mind that these are not the only comics in which Batman apparently dies – we’ve seen it happen plenty of times, from the self-contained issue ‘You Only Die Twice!’ (The Brave and the Bold #90) to the mega-crossover event Final Crisis, from the fake-out twists of ‘I Died a Thousand Deaths!’ (Detective Comics #392) to that time the Electrocutioner did clinically kill Batman, only to then defibrillate him back to life (Detective Comics #645). Regardless, for the most part this book does live up to its title: there are some magnificently strange stories in here!
To kick things off, we get a 1966 gem with a pop art look and a metafictional edge, courtesy of Gardner Fox, Carmine Infantino, and Joe Giela – basically, a confrontation between the Dynamic Duo and a new villain, the Bouncer, shifts into an imaginary tale halfway through on a whim of the writer, who directly addresses the readers before reinventing the Batman & Robin team. Next, there’s another Silver Age fever dream (by Cary Bates, Curt Swan, and Jack Abel) in which the Boy Wonder sets out on an years-long revenge quest after the Dark Knight gets himself killed by some guy called the Automator, who is succinctly described as “a master in the creation of robot crime machines.” Then we move on to a typical slice of craziness from the aforementioned Haney/Aparo run on The Brave and the Bold, in which the Atom uses his shrinking powers to reduce himself to a molecular level, sneaks inside Batman’s dead body, and jumps up and down on the brain area, manipulating Batman’s corpse like a zombie puppet in order to complete one last mission.
The high point of the volume is the 1977 epic ‘Where Were You On the Night Batman Was Killed?’ Written by an inspired David V. Reed, with art by John Calnan and Tex Blaisdell and colors by Jerry Serpe, this is an amusing spin on the whodunit formula: following rumors of Batman’s demise, several criminals claim credit for it, so the underworld bosses set up a trial in Gotham City to settle the matter, with Two-Face as prosecutor and Ra’s al Ghul as judge. We end up with a reverse courtroom drama, in which the defendants (Catwoman, Riddler, Lex Luthor, Joker) all claim they’re guilty and it’s up to the prosecutor to prove their innocence against their will. The result is at once quite clever (Two-Face pierces holes in the testimonies through the kind of factoids Reed was so fond of, like the properties of dynamite or the density of Brazillian pepperwood) and hopelessly silly (Luthor’s plan is particularly preposterous).
These tales more than justify purchasing or borrowing The Strange Deaths of Batman from your local library. And while the last stories in the book aren’t nearly as wild as the initial ones, at least one of them has a pretty badass opening:
If, like me, you dig pretty much everything noirish (even if it’s a highly derivative mash-up of familiar tropes, a weirdly pretentious cheapie about an incompetent hitman, a sleazy erotic thriller with contradictory gender politics, or a mystical, sluggishly paced Bhutanese mystery), surely some of the appeal Batman comics hold for you is the remarkable influence of hardboiled pulp fiction and film noir.
This influence was clear from the very first stories and, while the Dark Knight went on to have many other kinds of adventures, several writers and artists have kept the genre connection alive (most notably Frank Miller, Bruce Timm, and Brian Azzarello). Apart from Elseworlds pastiches like Nine Lives and Gotham Noir, you can find blatant homages to all those hard-hitting, convoluted tales of betrayal and murder – written in a scathing staccato rhythm oozing with male gaze, a sense of doom, and atmospheric slang, filled with slick mobsters, femmes fatales, tough guys in search of justice, and desperate protagonists haunted by their past – in gritty comics such as Batman: Year One, The Long Halloween, Broken City, Gordon’s Law, and City of Crime.
Yet perhaps you’re coming at it from the opposite direction. Perhaps you gained a taste for these elements through the comics and are now wondering about having a look at the original source. In that case, you are in for a ride, my friend! A couple of years ago, I suggested a bunch of film noir gems but, if you want to engage with the genre at its best, make sure you also pick up these three quintessential novels:
(Dashiell Hammett, 1929)
“I first heard Personville called Poisonville by a red-haired mucker named Hickey Dewey in the Big Ship in Butte. He also called his shirt a shoit. I didn’t think anything of what he had done to the city’s name. Later I heard men who could manage their r’s give it the same pronunciation. I still didn’t see anything in it but the meaningless sort of humor that used to make richardsnary the thieves’ word for dictionary. A few years later I went to Personville and learned better.”
While working a case in a city that seriously rubs him the wrong way, an unnamed private investigator (an operative of the Continental Detective Agency) decides to declare war on crime by manipulating a dozen gangsters into killing each other. Less of a pure detective tale than Dashiell Hammett’s The Maltese Falcon, this is essentially a chain of interconnected mysteries, as the book keeps providing new twists almost until the final paragraph.
Hammett’s anti-hero spins this sordid yarn like a furious scriptwriter on a tight deadline, keeping most descriptions on the surface while letting you work out each character’s hidden agenda – they all have one! – based on their external actions and dialogue. He gives you just enough to feel the reek of smoke and sleaze all around. You can also sense the narrator gradually getting carried away by his self-imposed mission.
“This damned burg’s getting me. If I don’t get away soon I’ll be going blood-simple like the natives.”
The result is one hell of a page-turner, with quite a cinematic flair… No wonder Red Harvest – mixed with the also-cool-but-not-as-cool The Glass Key – served as inspiration for the phenomenal movies Yojimbo, A Fistful of Dollars, and Miller’s Crossing. (The quote above also inspired the title of the Coen brothers’ neo-noir Blood Simple.)
Furthermore, there is a lot of Gotham City in Personville (aka ‘Poisonville’) with its gaudy buildings, overwhelming corruption, and endless supply of devious bastards.
THE LONG GOODBYE
(Raymond Chandler, 1953)
“The first time I laid eyes on Terry Lennox he was drunk in a Rolls-Royce Silver Wraith outside the terrace of The Dancers. The parking lot attendant had brought the car out and he was still holding the door open because Terry Lennox’s left foot was still dangling outside, as if he had forgotten he had one. He had a young-looking face but his hair was bone white. You could tell by his eyes that he was plastered to the hairline, but otherwise he looked like any other nice young guy in a dinner jacket who had been spending too much money in a joint that exists for that purpose and no other.
There was a girl beside him. Her hair was a lovely shade of dark red and she had a distant smile on her lips and over her shoulders she had a blue mink that almost made the Rolls-Royce look like just another automobile. It didn’t quite. Nothing can.”
The premise of The Long Goodbye involves the sardonic (if principled) private eye Phillip Marlowe trying to clear the name of his friend Terry Lennox, who seems to have murdered his wife. However, once again the labyrinthine plot keeps on spinning in surprising directions until the bitter end.
Raymond Chandler’s prose is a joy to read. He’s a master of witty turns of phrase and logical yet unexpected punchlines, with a sharp eye for detail (especially when it comes to capturing the decadence of Los Angeles). This is one of his most ‘literary’ novels, packed with beautiful descriptions, intriguing characterization, some social commentary, and a genuinely melancholic atmosphere drenched in hopeless loneliness and alcoholism. That said, Chandler doesn’t stray too far from his pulp origins: he still gives readers plenty of violence and hardboiled one-liners. While not as seedy as The Big Sleep, this is one mean read.
“I’m a licensed private investigator and have been for quite a while. I’m a lone wolf, unmarried, getting middle-aged, and not rich. I’ve been in jail more than once and I don’t do divorce business. I like liquor and women and chess and a few other things. The cops don’t like me too well, but I know a couple I get along with. I’m a native son, born in Santa Rosa, both parents dead, no brothers or sisters, and when I get knocked off in a dark alley sometime, if it happens, as it could to anyone in my business, nobody will feel that the bottom has dropped out of his or her life.”
Twenty years later, Robert Altman did a bizarre film adaptation that hugely simplified the story (although adding an extra knockout twist at the end!) while transposing it from the noirish 1950s to the New Age 1970s. If nothing else, the picture is worth watching just for all the little quirks, like the fact that Elliott Gould of all people is cast as Marlowe or the fact that every tune in the soundtrack is a variation of the same song.
(Richard Stark, 1962)
When a fresh-faced guy in a Chevy offered him a lift, Parker told him to go to hell. The guy said, “Screw you, buddy,” yanked his Chevy back into the stream of traffic, and roared on down to the toolbooths. Parker spat in the right-hand lane, lit his last cigarette, and walked across the George Washington Bridge.”
Sure, we all love watching rugged detectives played by Humphrey Bogart and Alan Ladd struggling to do what’s right in an unfair world, but a great allure of film noir is also the sub-genre of movies where you find yourself rooting for hardened criminals who are just trying to pull a job in as professional a manner as possible (Jules Dassin’s Rififi, Paul Wendkos’ The Burglar, George Sherman’s Larceny). Under the pseudonym Richard Stark, writer Donald E. Westlake gave us his share of this type of stories in dozens of deliciously nasty thrillers about Parker, a ruthless freelance robber with big hands and a craftsmanlike, take-no-shit attitude.
In the series’ first entry, The Hunter, we meet Parker after he has been double-crossed and left for dead. We follow him – and, in the mid-section, one of his prey – as he methodically tortures and/or kills his way up the mob-like organization known as the Outfit in order to get his revenge… and his money back. Unlike the two books I mentioned above, The Hunter is written in the third person, but the gripping, unsentimental style actually mirrors Parker’s personality.
“It was his belt buckle that saved him. Her first shot had hit the buckle, mashing it into his flesh. The gun had jumped in her hand, the next five shots all going over his falling body and into the wood of the door. But she’d fired six shots at him, and she’d seen him fall, and she couldn’t believe that he was anything but dead.”
As others have pointed out, one of the things that makes The Hunter so enduring is that, even though it starts out as a personal revenge quest, it ultimately turns into a confrontation between a solo entrepreneur and a big corporation. The novel efficiently sets up a whole underground world of organized crime, with strict rules, specialized hotels, and an intriguing sense of community (not unlike the recent John Wick movies). It’s also a tight little beast, the action unfolding in a way that is as straightforward and relentless as Parker himself.
This book has been loosely adapted to the big screen at least three times (with the titles Point Blank, Full Contact, and Payback) and there is a gorgeous graphic novel rendition as well. Moreover, with its skill at delivering taut dialogue and keen heist plots, the Parker series was an obvious influence on the Catwoman comics of Chuck Dixon and Darwyn Cooke.
NEXT: Batman collections.
I’ve often pointed out in this blog that, during the Silver Age, many Batman covers achieved a level of psychedelia akin to a bad acid trip. However, this phenomenon isn’t exclusive to the 1950s and 1960s… Here are a dozen later examples (taken from the Grand Comics Database) of brilliant cover artists – and especially colorists! – trying to drive comic fans magnificently insane:
Ed Hannigan and Klaus Janson
Frank Quitely and Alex Sinclair
Ed Hannigan and Klaus Janson (again)
Rich Buckler and Karl Kesel
Michael Allred and Laura Allred
NEXT: Pulp fiction.
Chris McKay’s The Lego Batman Movie may be a genuinely funny absurdist comedy, an inventive visual delight with spot-on voice acting, a postmodern, good-natured spoof of superhero blockbusters as well as, at the same time, an action-packed mega-crossover adventure yarn in its own right, a feast of geeky cameos and easter eggs, a surprisingly wide-ranging and detailed homage to the depictions of the Caped Crusader across multiple media, a meta-commentary about the different ways Batman can be cool, the closest thing to a Brave and the Bold feature-length film we are ever going to get, and way more charming, clever, and engaging than any shameless 104-minutes-long advertisement for toys had any right to be, but it did get one thing wrong. Batman is not into rap metal… he is totally into disco music:
After an (unfortunately still) underappreciated run in Batman and Detective Comics in the mid-1980s, Doug Moench took a break for about five years before returning to Gotham City with a new attitude. If his earlier work had an emphasis on grounded action and characterization, filtered through a literary sensibility, Moench now chose to forgo most attempts at realism, instead engaging with the Dark Knight’s world as if it was an outlandish caricature.
His eccentric approach was all the more remarkable because Doug Moench ended up playing a central role in defining the feel of modern Batman comics. Besides a lengthy run on Batman (1992-1998), he went on to write several neat story-arcs for Legends of the Dark Knight as well as a pretty awful Catwoman run, not to mention a bunch of specials and short stories in anthologies like Showcase, Batman Chronicles, and Batman 80-Page Giant.
When people associate the 1990s with a brooding, über-grim Batman, this is largely a result of Moench’s purple prose…
Such a way of writing Batman is often seen as an editorially-mandated, post-Dark Knight Returns trend (and surely there is some truth to that), but it should also be seen in the context of Doug Moench’s evolution into full-on operatic mode.
Seriously, it’s like Moench read Rorschach’s diaries and felt like they were not gritty enough…
At first, when Moench returned to the Gotham corner of the DCU as a regular writer, his take on it didn’t come across as strikingly different from what he had done before… He seemed to be picking up where he left off, bringing back characters created during his former run – such as Circe and Harvey Bullock – and doing callbacks to his tales about Black Mask (in Batman #484) and the Dark Rider (in Batman #515), as well as to Gerry Conway’s original Killer Croc storyline (in Batman #489), thus establishing them as part of post-Crisis continuity.
It didn’t take long before we got some glimpses of the high-octane madness to come, though. You could see Doug Moench absorbing the genre’s turn towards darkness, especially as he became one of the main writers of 1992’s ‘Knightfall’ story-arc, in which he explored Bruce Wayne’s psychological and physical breakdown. Moench also helped shape Bruce’s temporary successor, the demented Jean-Paul Valley (aka AzBats), who looked and acted quite differently from the regular Batman yet drew from the same dark well:
That said, it was after the ‘Knightfall’ and ‘Prodigal’ crossovers that Doug Moench’s characterization became really over-the-top. Most of the cast began to talk and act in preposterously exaggerated ways, striking shameless dramatic poses and uttering ill-disguised exposition, as if consciously owning up to the fact that they were comic book heroes and villains.
Not by accident, this shift coincided with the time when Kelley Jones became the regular artist on Batman, in late 1994. Jones’ pencils – savagely inked by John Beatty – are themselves as outrageously over-the-top as you can get, adorning the Dark Knight with some of the most bewildering, goddamned gothic capes and shadows ever to grace mainstream comics:
Doug Moench clearly decided to write for Kelley Jones’ strengths and he just swung for the fences. Moench’s scripts filled the series with freakish monsters and big, bodacious violence while giving Jones the chance to draw, in his own inimitable style, classic horror-inspired characters like the demon Etrigan, the Spectre, Man-Bat, Deadman, and Swamp Thing:
(Yes, that’s Killer Croc making a killer pun.)
Outright embracing Kelley Jones’ cartoony neo-gothic vibe, Doug Moench soaked Batman’s stories in squirm-inducing ghoulish murders and dismembered body parts. On top of confrontations with most of the typical rogues gallery, the Dynamic Duo chased sick new villains who desecrated corpses and ripped people’s faces off, right there on the page!
In Moench’s defense, that kind of thing was not too unusual in the bat-books of the time… On an average month, you could easily find yourself starring at graphic depictions of a guy getting drilled alive, or being burned to a crisp, or getting his hands sawed off (or all of the above, in the case of Catwoman/Wildcat #4).
Likewise, in terms of overarching narrative, the Moench/Jones/Beatty run was immersed in its larger family of titles. Although most stories were self-contained, there was tight continuity between the bat-books in the form of background subplots that carried over from book to book and then paid off in occasional crossovers which wrapped the various series into the same meta-narrative – like in the cool ‘Contagion’ arc, where a dangerous virus outbreak in Gotham City brought together the casts of Batman, Detective Comics, Robin, Shadow of the Bat, Catwoman, and Azrael (there was also a Batman Chronicles tie-in, which launched Hitman).
None of this changes the fact that Doug Moench’s issues had quite a distinct voice. And while the tales illustrated by Kelley Jones were the ones where Moench went further over the edge, there were other fascinating collaborations. In particular, he did a number of comics with J.H. Williams III who, already at the time, enjoyed weaving intricate conceptual patterns into the layouts:
Kelley Jones’ and J.H. Williams III’s flair for decorating the borders of pages with thematic details was an obvious fit for Doug Moench who – as I’ve mentioned time and time again in this blog – has a thing for bountiful symbolism, a trait that definitely did not go away in the nineties… See, for example, how when Moench updated the origin of Jonathan Crane, the Scarecrow (in Batman Annual #19), he appeared to have squeezed in every single symbol, play on words, and intertextual reference to fear and scarecrows (and to Jonathan Crane’s name) he could find!
Even better: check out ‘Heat’ (Legends of the Dark Knight #46-49), in which there is a heat wave, a serial killer going after hot women, and racial tension heating up (due to the suspicion that the killer may be African-American, leading the authorities and white supremacist skinheads to persecute the black community, almost ushering a riot). Plus, Catwoman is basically in heat, heavily hitting on Batman. And Billy Wilder’s Some Like It Hot is totally playing on television. And – I kid you not – the comic is drawn by Russ Heath! Seriously, given the racial theme, all that’s missing is a reference to the (awesome) film In the Heat of the Night…
Sure, these may not be the most interesting genre comics to deal with racism, but I just love Moench’s commitment. To cap things off, the threat of a violent clash is resolved literally and symbolically with a break in the heat (introduced through another irresistible pun):
Doug Moench also touched on the issue of race in ‘Suit of Evil Souls/The Greatest Evil’ (Batman #551-552), where the Caped Crusader teamed up with Ragman to fight the antisemitic gang Aryan Reich. What’s more, in ‘Ballistic’ (Batman Annual #17) – part of the lame ‘Bloodlines’ crossover (the one about alien vampires) – Moench tried to establish an enduring Asian-American hero through Kelvin Mao, a cop-turned-gun-toting-mutant-mercenary with the most ‘90s look and attitude you can imagine… Moench brought Ballistic back a couple of times, but it didn’t help that the stories were as uninspired as the character himself (even though, at one point, he did fight a post-punk version of the Three Stooges).
Speaking of politics, it was not uncommon for Moench’s characters to launch into political discussions, whether about Gotham’s fictional mayoral race (Batman #523) or about the actual post-Soviet world order (Batman #515). Above all, Moench kept returning to the topic of shadowy government operations and conspiracies.
(The above excerpt is from a story in which mobsters hire Mekros – a mercenary who uses CIA techniques to brainwash himself – in order to get Batman. The CIA then sends its own corrupt assassin after Mekros, creating a free-for-all of action and double-crosses.)
More than a go-to narrative trick – like Grant Morrison’s nanotech or Denny O’Neil’s animal cruelty – this topic seemed to truly fascinate Doug Moench, who never missed a chance to feed our sense of paranoia, more often than not by reminding readers that the government can’t be trusted. (He also wrote, for Paradox Press, the anthologies The Big Book of Conspiracies and The Big Book of the Unexplained.)
I suppose this tendency reached its apogee in ‘Conspiracy’ (Legends of the Dark Knight #86-88), where Moench knit a kaleidoscopic tale of satanic rituals, political assassinations, bikers, serial killers, the Mob, the LAPD, Hollywood, the CIA, new agers, secret societies, and whatever else is missing from your conspiracy theory scorecard. By the end, the story implied that even Batman’s existence could be part of the cabal… (It’s a nifty arc, later collected in a DC Comics Presents one-shot. The art by J.H. Williams III, Mick Gray, and Dan Brown nails the eerie mood one associates with the sinister cults of Los Angeles, later mined by the comic series Fatale and the film Starry Eyes.)
Another memorable instance of a plot revolving around covert operations took place in Batman 536-538. Man-Bat crashes into a secret program run by the US government in the Arctic, where scientists are bouncing harmonics off the upper atmosphere in order to weaponize ‘pulse energy.’ Washington sends in a team of shady troubleshooters to kill Man-Bat and it’s up to the Caped Crusader to both save the monster’s life and put an end to the dealings of the real monsters, i.e. the unethical HAARP (Harmonic Atmospheric Research Project). Moench gets so worked up with conspiracy theories that at one point he even forgets this is supposed to be a comic book:
Interestingly, after having pushed the Dark Knight to an almost abstract extreme, in the second half of this run Moench tried to humanize him once again by devoting more attention to Bruce Wayne. We see Bruce trying to get more involved in the Wayne Foundation, which leads to a hilarious scene in Batman #541 in which he shows up in the building unannounced and causes a panic because everyone assumes there is about to be a hostile takeover.
Moreover, Doug Moench gave Bruce Wayne a love interest in the form of radio host Vesper Fairchild:
The later issues do a fine job of turning Vesper Fairchild into a likable addition to the cast and giving some weight to her romance with Bruce Wayne (although, as usual, the writers who came afterwards had her brutally murdered).
In fact, in case it is not clear already, perhaps I should stress that, despite all the baroque trappings, Doug Moench’s ‘90s output is not exactly shallow. It still includes quite a few relatively grounded stories and character moments (particularly among the contributions to Legends of the Dark Knight). And although gleefully geared towards throat-grabbing horror and superhero adventure, the main Batman title did not ignore the detective side of the Caped Crusader…
At the end of the day, the truth is that the division between Doug Moench’s ‘80s and post-‘80s phases is not entirely linear. For one thing, Moench was certainly no stranger to wild spectacle in the eighties, having also indulged in the era’s brand of delirious macho excess later spoofed by the likes of Sexcastle and Kung Fury. (Most notably, he wrote the sci-fi mini-series Slash Maraud, which features futuristic dinosaurs, alien despots, biker amazons, a cult devoted to classic horror movies, and a humanoid bear who at one point fights a gang of Nazis.)
Yet Moench’s post-eighties evolution is hard to deny, as he has taken Batman comics into darker and darker places over the years. The ultimate example of this is probably the handful of one-shots and mini-series he has produced with Kelley Jones, putting Burtonian spins on the Gotham cast (including, famously, one in which Batman battles Dracula).
I’m pretty sure I’m not breaking any new ground by stating that Casablanca is one of the most enjoyable films ever made. This 1942 classic about heartbreak and antifascism in a French colony bursting with contraband and political intrigue manages to succeed on several different levels: it is a compelling spy thriller, a memorable romantic drama, an effective piece of WWII propaganda, and shockingly funny to boot.
It’s not just that Casablanca has a powerful story and witty dialogue – the movie also has the cast to carry them. With his sardonic lisp and weary look, Humphrey Bogart nails even the most unlikely exchanges as Rick Blaine, like when Captain Renault (Claude Rains) asks him what brought him to Casablanca and he replies: “My health. I came to Casablanca for the waters.” When Renault doubts Rick – “What waters? We’re in the desert.” – Bogie coolly throws him off with the dry line: “I was misinformed.” (even though technically he wouldn’t have been misinformed, since Casablanca is in fact on the coast, not in the desert).
This Warner production was considered a success already at the time, both at the box office and critically, winning awards for best picture, director, and screenplay. Casablanca soon spawned a number of more or less explicit attempts to mimic its formula, including – among many others – To Have and Have Not, The Conspirators, and Five Graves to Cairo. After the war, you would continue to find echoes of its themes and atmosphere on the big screen for decades to come, from the noirish The Third Man to the frothy Macao – all the way up to last year’s Allied (where Brad Pitt plays a straight-faced version of the scene he played for laughs at the climax of Inglourious Basterds).
Casablanca‘s enduring resonance in pop culture cannot be overstated. In 1946, the Marx Brothers spoofed its opening scenes in A Night in Casablanca (one of their lesser vehicles, but with a few funny gags and one-liners nonetheless). By 1972, you could still get away with something like Play It Again, Sam, a charming comedy essentially revolving around references to this Hollywood masterpiece. In the mid-nineties, there was a trashy cyberpunk remake, starring Pamela Anderson.
Comics have celebrated Casablanca as much as any other media while taking advantage of its reputation. For example, Bill Pearson and Don Newton recreated the setting and characters in ‘The Mystery of the Mali Ibex’ (Phantom #70), a clever mash-up of Bogart flicks, including riffs on The Maltese Falcon, To Have and Have Not, The Treasure of Sierra Madre, Key Largo, and The African Queen. The people at Rick’s Café Américain also showed up in Martin Pasko’s and Tom Yeates’ ‘Here’s Lookin’ At You, Kid’ (The Saga of the Swamp Thing #8), where Vietnam vets magically brought to life elements from various old films.
Needless to say, Casablanca has been incorporated into some comics featuring the citizens of Gotham City as well. Writer Paul Kupperberg integrated the final scene (in which an unlikely friendship emerges between two characters who had recently threatened to kill each other) into two of his series. In the 1985 Vigilante story ‘Shadow of a Madman!’ – with art by Tod Smith and Rick Magyar, colored by Tatjana Wood – the movie is playing on television when Nightwing gets into a fight with Adrian Chase over Vigilante’s latest killing spree…
The scene goes on throughout the issue. At one point, the broadcast is interrupted by a special news report that clears up Adrian Chase’s involvement in the killings. As a result, the two heroes make up just in time for Casablanca’s famous closing line:
Paul Kupperberg pulled the same trick three years later in the spy series Checkmate!, about the titular secret agency run by Harry Stein. In the issue ‘A Thorn in Her Side’ (art by Steve Erwin and Al Vey, colors by Julianna Ferriter), the psycho vigilante Black Thorn meets up with Harvey Bullock – the former Gotham cop, at the time working for the feds – during a screening of Casablanca, once again mirroring the character dynamics of the film’s ending…
(To be fair, it had already been established that Harvey Bullock was a Casablanca fan… We saw that he had a poster of the movie in his apartment, in Detective Comics #549, and he was shown singing ‘As Time Goes By’ in the very first issue of Checkmate! Years later, in Batman #547, Bullock claimed to have seen it seventy-three times.)
Another writer who referenced the film a couple of times was Chuck Dixon. In ‘Smash Cut/Losing the Light’ (Detective Comics #672-673) – art by Graham Nolan and Scott Hanna, colors by Adrienne Roy – the Joker sought to not just kill Batman, but to turn his death into a cinematic production. In line with the Hollywood theme of the plot, the Clown Prince of Crime temporarily adopted Humphrey Bogart’s persona:
In 1994, Chuck Dixon played with Casablanca in a more amusing way, on the pages of a short story starring the Psyba-Rats. The Psyba-Rats were a fun trio of Gothamite thieves who unfortunately never really caught on… Dixon introduced them in Robin Annual #3, then brought them back in Showcase ’94 and in his run on Catwoman as well as in their own self-titled mini-series (all of these were pretty cool!). The gimmick was that two members of the team had odd, alien-induced mutations, with one of them – Channelman – being able to navigate through television airwaves.
In ‘What’s Your Twenty’ (pencils by Howard Porter, inks by Mark Stegbauer, colors by Greg Rosewall), guess what Channelman did with his weird powers…
Finally, let me draw your attention to the Batman Adventures issue ‘Last Tango in Paris’ (written by Kelley Puckett, penciled by Mike Parobeck, inked by Rick Burchett, colored by Rick Taylor). During his opening run on this title, Puckett covered plenty of different subgenres, from capers to mysteries, from hardboiled crime to screwball comedy. ‘Last Tango in Paris’ is the series’ take on romantic adventure, with the Dark Knight and Talia al Ghul travelling to Paris in order to track down a valuable statue, only to find themselves captured by a villain who looks like a cross between Sydney Greenstreet’s characters in The Maltese Falcon and Casablanca.
What’s more, the tale ends with a twist on yet another classic line:
NEXT: Doug Moench unleashed.