In
the early spring of 1939, National Publications, publisher of such popular
Comic Book titles as Adventure, Action,
More Fun, and the publisher’s flagship title (from which it would someday take its corporate name), Detective Comics, had a rather happy
problem on its hands. The first costumed
superhero, Jerry Siegel and Joe Shuster’s Superman, had debuted a year before
in the premiere issue of Action Comics,
and the success enjoyed by the last son of Krypton meant the company was
looking to strike four-color gold again.
They issued a notice to their in-house writers and artists—come up with
ideas for the next costumed “mystery-man.”
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| First appearance of Batman, Detective Comics 27, May 1939 |
Bob
Kane, an artist then working on several strips for National, including “Oscar
the Gumshoe,” appearing in issues of Detective,
had a hero concept that he had roughed out, a cross between matinee idol Douglas
Fairbanks and a mix of such literary figures as the Scarlet Pimpernel and
Zorro. His original sketch of the
character featured a masked man, in a red and blue costume, without gloves, and
with rigid bat wings. He showed the
sketch to Bill Finger, a colleague of his who was the ghostwriter for some of
Kane’s strips. Finger made a couple of
suggestions … a cowl instead of a mask, gloves to avoid fingerprints, ditch the
red in favor of dark blues and grays to blend into the darkness, and a cape
with scallops instead of the batwings.
With
Finger writing the story, and Kane’s art, National had their, “next big thing,”
and the Bat-Man debuted in the May 1939 issue of Detective Comics, number 27, in “The Case of the Chemical Syndicate.” Six pages, fifty-five panels of art and text,
and from that would emerge what is arguably the greatest superhero creation
ever, second only to Superman. This
year, Batman turns seventy-five, and both DC Comics and its fans have been
celebrating enthusiastically.
Batman,
in his earliest incarnation, was a vigilante, wanted by the law even as he
battled the criminals they couldn't catch.
While millionaire playboy Bruce Wayne hob-nobbed with Gotham City’s police
commissioner Gordon, his alter ego, Batman, used gossip from Gordon as
intelligence in his war on crime. These
early adventures of the Caped Crusader are some of the best in the Batman’s
canon, with Batman at his most basic, without the gadgets and devices that
would come later. There was no
Batmobile; Batman arrived on the scene in Wayne’s powerful roadster. There was no bat-signal or bat-phone; no
batcave, Alfred, or even Robin. There
was just Batman, and his unrelenting, unceasing war against the evil that
robbed him of his parents and his childhood.
Soon,
he would be joined in his crusade by a young boy who, like Bruce Wayne twenty
years before, watched the murder of his parents. Dick Grayson would become Bruce Wayne’s ward,
and, as Robin, the Boy Wonder, fight alongside his mentor against the criminals
of Gotham City. The character would
evolve throughout the forties and fifties, from the caped vigilante of his
early adventures, to a globetrotting law enforcement agent, to a superhero who
regularly traveled to both other worlds and other times. By the early 1960s, Batman had become a campy
caricature of himself, more often battling aliens or medieval monsters than common
criminals.
It
was during this period that his ‘rogue’s gallery’ was at its peak. These costumed supervillains, each with their
own trademarked style and shtick, became one of the most recognizable features
of Batman’s comic book adventures, and an integral part of the 1960s television
series. The Penguin, the Riddler,
Two-Face, Clayface … and dozens more, including the two who would become the
most important, and enduring, members of that gallery, the Catwoman and the
Joker.
Selina
Kyle, aka the Catwoman, first
appeared in Batman 1, spring
1940. At first, she was a society jewel
thief who called herself the Cat, robbing the wealthy passengers on an ocean
liner. Soon however, she had changed her
name, and by her third appearance had become the first costumed villainess in
comic book history. She was unique in
her relationship with the Caped Crusader, a thief but never a killer; a criminal
who was Batman’s most serious romantic interest.
The
Joker also made his debut in Batman 1,
and with his sadistic sense of humor, psychopathic eagerness to kill, and
insane gimmicks, he rapidly became Batman’s most persistent, and dangerous,
foe. Though he too became campier into
the 1950s and ‘60s, beginning in 1956 there was a transformation in the DC
creative offices that would eventually see a renaissance in the character of
Batman, and in his world.
When
DC’s Silver age began in the 1950’s (for
Batman, it began with Detective Comics
236, October, 1956), the Golden age superheroes—Superman, Batman, Flash,
Green Lantern—were reinvented for contemporary readers. Then Editor Julius Schwartz conceived of one
of the defining concepts of comic book history, the DC Multiverse.
The
Golden age superheroes were revealed to have existed in a parallel universe, on
an Earth now known as Earth-2. Their
modern incarnations lived on Earth-1. We,
the fans and readers, exist on Earth-Prime.
And these were only three of the universes available for the writers and
artists at DC to play with. Eventually,
we would see heroes from Earth-3, Earth-S (the
Captain Marvel family of superheroes, formerly published by Fawcett and
acquired by DC in the ‘70s), and Earth-X (home to the Freedom Fighters,
likewise a recent acquisition of DC’s, who were a group of heroes originally
published by Quality).
While
initially there was little difference between the Golden and Silver Age
versions of DC’s big three—Superman, Batman, and Wonder Woman, as time passed
the divergence became greater and greater.
In the late 1960s, the popularity of the TV series had boosted sales of
Batman’s titles to near-record levels, with the circulation of Detective Comics approaching 900,000
copies a month. Elements from the series
began to infiltrate the ‘real world’ of the comic books, most notably the high
camp of the series. Though the books had
been bordering on silly for more than twenty years, the publisher pushed
Schwartz to bring the books more in line with the series—and the long time fans
weren’t pleased at the results.
Another
change that’s usually, but incorrectly, credited to the television show is the
introduction of Commissioner Gordon’s daughter Barbara as the new Batgirl. While Yvonne Craig’s debut as Barbara Gordon
on the third season premiere got more attention, the character was actually
introduced in Detective Comics 359,
January, 1967—more than ten months prior to her TV debut.
When
the series was cancelled after the 1967-68 season ended, the circulation
numbers, booming due to the exposure of the series, fell off sharply. Editorially, the decision was made to make
the character more relevant and relatable, to bring Batman into the ‘age of
Aquarius.’ One of the first stories to
reflect this new direction was “The Cry of the Night is—Sudden Death!” in Detective Comics 387, May, 1969. This was the thirtieth anniversary of
Batman’s first appearance, and for the occasion writer Mike Friedrich updated
the first Batman story, “The Case of the Chemical Syndicate,” transforming it
into a topical, thought-provoking exploration of the generation gap that was so
large an issue with the teen demographic DC was aiming to capture.
However,
it took a new creative team to take Batman back to his roots. The new lead writer on Batman, Denny O’Neil, spent
time in the DC archives, trying to recapture the original feel of the
character, the intent that Kane and Finger had when they created him. He wanted to bring Batman back to that
darkness that was so much a part of the character in the beginning, to restore
him to the Darknight Detective he was conceived to be. To give the reinvented hero form, DC enlisted
the services of a popular new artist—Neal Adams. Adams, then working on a pair of humor books
for DC, was eager to work on Batman, but had been rebuffed when he had originally
asked Schwartz for the assignment. He
went to Murray Boltinoff, the editor of The
Brave and the Bold, the Batman team-up mag, and was given a cover assignment;
issue number 75 featuring Batman and the Spectre. This led to more covers, and soon he was
drawing the backup feature in Detective,
the Elongated Man. From there, he soon
became the feature artist on the Caped Crusader. It was his art, and that of colleagues Irv
Novick, Dick Giordano, and Jim Aparo that came to define Batman in the 1970s.
The
decade of the ‘70s saw greater change in the character than ever before. Dick Grayson was packed off to college, Wayne
Manor was closed up, and Bruce Wayne relocated to the penthouse of the Wayne
Foundation building in the heart of Gotham City—along with the Batcave. The character grew darker as time passed—no
mean feat, as Batman was already one of DC’s darkest superheroes. He gained his most complex and, with the
exception of the Joker, deadliest foe in a creation of O’Neil and Adams’, the
League of Assassins and Ra’s al Ghul.
Ra’s, and his daughter Talia, would figure into some of the most pivotal
story arcs of the decade, and would feature prominently in the “Dark Knight” trilogy
of films of the 2000s, directed by Christopher Nolan More characters were introduced, characters
that added depth and dimension to our hero.
The Batman that began the ‘80s bore little resemblance to the one that
began the ‘70s.
The
1980s were a traumatic decade, for Batman in particular and DC Comics in
general. By the middle of the decade,
things weren’t going so well for the venerable publisher. It’s primary competition, Stan Lee’s Marvel
Comics Group, was growing in popularity—often at the expense of DC. Marvel’s superheroes were perceived as being
edgier, more adult, and simply put, more cool, than DC’s heroes. As the fiftieth anniversary of DC Comics
approached, it was readily apparent to the editorial staff at DC that something
drastic was needed to revitalize the brand.
That something would be the single most transformative event to occur in
comics since Action Comics 1—the Crisis on Infinite Earths.
Conceived
by writer Marv Wolfman and artist George Perez, the Crisis was intended to
“clean up” the convoluted, often confusing character continuities that had
arisen since the birth of the ‘Multiverse’ in Flash 123. They felt that
the Multiverse had outlived its usefulness, and should be eliminated. But how to do that without eliminating all
the characters that exist because of that Multiverse?
Simple—you
don’t. A list was made of all the characters
that had a place in the new, revamped DC Universe. Everyone else was to be eliminated. The Crisis touched nearly every DC
publication, and changed every continuity.
For all of 1985, fans were riveted to the series, as earths died,
universes perished, and heroes fell.
Some were minor heroes, characters whose place in the DC universe had
ended long before the Crisis began, such as Lori Lemaris and Prince Ra-Man. Some, while popular, simply had no place in
the streamlined universe, characters like the Huntress, the daughter of
Earth-2’s Batman and Catwoman. While she
had been without a regular home since the Justice Society had ended it’s run in
Adventure Comics in December, 1979,
her subsequent appearances as a back-up feature in issues of Wonder Woman had boosted her popularity
to the point that there had been talk of her getting her own book. But the realigned universe held no place for
Helena Wayne, the adult daughter of Bruce Wayne and Selina Kyle, only a few
years older than she.
And
then there were the deaths that would shake the foundations of the DC universe
to that point. Two in particular would
shock fans and have repercussions that would echo through the post-Crisis
universe—the Flash, aka Barry Allen, the hero whose creation had launched the
Silver Age at DC Comics, and Kara Zor-El, the cousin of Superman who came to
Earth as Supergirl. The Flash’s life had
been in a decline since the murder of his wife Iris at the hands of Professor
Zoom in Flash 275 (July, 1979), and the story arc involving
his trial for Zoom’s death as he tried to recapture him led up to the
cancellation of his comic book with issue 350.
Supergirl, who had been a favorite DC character since her introduction
in Action Comics 252 (May, 1959), was
the most surprising casualty of the Crisis, eliminated due to the decision to
once more return Superman to his status as the sole survivor of Krypton’s
destruction.
Following
the Crisis, every DC character was reinvented, and the Caped Crusader was no
different. Batman became, instead of a
character that existed in the darkness, a character within which darkness
existed. A character scarred and crippled
emotionally, driven by the compulsion to strike back at the tragedy that robbed
him of his parents. And the man
responsible for this transformation was the greatest comic book creator of the
modern era, Frank Miller.
Miller,
whose career began with some uncredited work at Western Publishing’s Gold Key
imprint (after a recommendation from Neal Adams), was coming off a successful
run at Marvel, where he had revitalized Daredevil, and created the character of
Elektra. In 1986, DC published Miller’s The Dark Knight Returns, a four-issue
mini-series that would come to define Batman for a generation, and serve as
inspiration, to a greater or lesser degree, for all the live-action Batman
films produced in the ‘80s, ‘90s, and 2000s.
Set
in contemporary Gotham City, Miller’s Bruce Wayne was a tired, aging man,
retired from his life as Batman for more than a decade. As Commissioner Gordon, now seventy years of
age, is approaching retirement, the crime rate in Gotham is spiraling out of
control. A gang called the Mutants is
terrorizing Gotham, motivating the fifty-five year-old Wayne to take up cape
and cowl once again to defend his city. With
the ever-faithful Alfred, now in his eighties, and a new Robin, this time the
‘Girl’ Wonder, he resumes his war on crime, with unforeseen, and far-reaching,
effects.
Miller’s
dark vision of Batman would continue the following year, again in a four-issue
mini-series entitled Batman: Year One. Where The
Dark Knight Returns featured a Batman at the end of his career, using
technology to overcome his age and injuries, Year One took Batman back to his very beginning, with nothing but
his wits and training to depend on, fighting a corrupt police commissioner with
only District Attorney Harvey Dent on his side.
A young Lt. James Gordon, an honest cop in a sea of corruption, with a
pregnant wife at home, and partnered with a beautiful female detective, with
whom he becomes involved at work, is tasked with bringing in the masked
vigilante known as the Batman.
These
two story arcs created the Batman that modern audiences are familiar with, the
Batman, essentially, of the Christopher Nolan films. Those fans that began reading Batman comic
books since the Crisis easily recognize the character in the movies. Those of us who began our friendship with the
Caped Crusader in the ‘60s and ‘70s had more difficulty with reconciling the
Batman on the screen with the superhero of our childhoods.
My
association with Batman began at an early age, watching the TV series in its
first run. I was four when the series
ended, old enough to be a Bat-Fan, but still too young for the comic
books. That would quickly change, and by
the summer of 1969, my comic book collection had begun growing—or, I should
say, my first collection. I didn’t buy
the typical comic books a five-year-old might—the Disney books, or Bugs
Bunny. Nor was I buying superheroes
then, DC or Marvel. If there was one
thing that the five-year-old Unimonster had in common with his fifty-year-old
counterpart, it was a deep love of horror, and everything associated with it.
Born
about fifteen years too late for the “golden age” of E.C. Horror—Tales from the Crypt, Vault of Horror, Weird
Science—I nevertheless had excellent horror titles from which to choose. Gold Key had The Twilight Zone and Boris
Karloff Tales of Mystery, both titles guaranteed to get my attention. Another Gold Key that was a favorite of mine
was Ripley’s Believe it or Not, an
anthology of weird, supposedly true tales of mystery, horror, and suspense.
DC
wasn’t without its share of horror titles.
House of Mystery, House of
Secrets, The Witching Hour, The Unexpected, all found their way into my
stack of comic books. Soon I noticed
other DC titles, featuring characters I was familiar with already, and some
that I hadn’t seen before. Batman and
Superman, of course … but also the Flash, Wonder Woman, Green Lantern, the
Atom, Hawkman. All caught my attention,
and my interest, but with comic books at 15¢ each, I wasn’t ready to say
goodbye to the horror books yet, and I couldn't afford both.
I
needed something to bridge the gap, something that touched both genres to pull
me into the world of superheroes. That
came when I was six, almost seven. The
December 1970 issue of Batman, number
227, hit the racks shortly before Halloween, and I had to buy it. The cover conveyed hints of a Batman with
whom I was unfamiliar, one that bore little relation to the Batman of the TV
series. As I read the story “The Demon
of Gothos Mansion,” that first impression was confirmed. This Batman was a creature of the night; a
frightening, vengeful fiend that hunted evildoers while cloaked in darkness. I was hooked.
And
I still am, nearly forty-five years later.
My first collection is long gone.
My second grew to over 2,000 comic books before it too vanished,
sacrificed piecemeal to the priorities of adulthood. Now I’m working on my third collection,
trying to recapture some of the comic books that I once owned. Or am I trying to recapture the youth that’s
as lost as those four-color memories?
Recently,
Alexandra of Mancrates Gifts for Men
contacted your friendly ol’ Unimonster.
Mancrates is a site that specializes in manly gifts for manly men (so, of course they came to me, natch)—no
frou-frou wrapping paper or frilly bows … the lucky recipient of a Man Crate
gets just that, a crate and a crowbar.
The crate comes packed with a chosen assortment of everything a man
could wish for—well, almost everything.
From video games, to barware featuring your favorite team’s logo, to
enough beef jerky to carry you through any movie marathon or from the earliest
pre-game show on Sunday morning through to Chris Collinsworth’s final words
fifteen hours later, mancrates.com will box it up and ship it out. And the question that Alexandra and mancrates
wished to pose to the Unimonster was, “If you could have us crate up a kit to
help you survive in a horror film, what would it contain?” 
Most
horror fans, when posed this question, would think ‘zombie apocalypse’ and
start assembling weapons, ammo … and giant, economy sized cans of pudding. Personally, I’m going to go in another
direction. I already have weapons and
ammo, and I’m not all that crazy about pudding.
What I am crazy about is classic horror—vampires and werewolves, mummies
and monsters, ghosts and ghouls. And few
have done classic horror as well as Hammer Films. Beginning in 1957, this British studio
resurrected classic horror from the depths to which it had plunged following World
War 2, making it ‘cool’ again for a generation of movie goers..jpg)
Now,
compared to vampires, werewolves are relatively easy to kill, if one knows the
secret of how to do it. Silver bullets;
a box of fifty should be sufficient. But
not just any cartridge will suffice. I’d
like to keep things as period authentic as possible. So let’s start with a handgun that’s quintessentially
Victorian, with a bit of a ‘Steampunk’ vibe, the Webley Mk. I, chambered for
the .455 cartridge.
