by Jimmm Kelly
no yellow spot
The first 80 PAGE GIANT that I got from DC (aka National Periodical Publications) was the June-July ’67 issue of SUPERMAN–No. 197/G-36. Realizing what a great deal this was, I managed to finagle my father into buying me another 80 PAGE GIANT, when we were both in Ryan’s Drugstore. This was the July-August ’67 issue of BATMAN–No. 193/G-37.
Note: the numbering on DC’s giant-size comics is confusing, best not to get into it–see issue No. 20 for the full details.
Not long after that I got WORLD’S FINEST COMICS No. 170/G-40, featuring Superman and Batman together, and–from the second-hand bookstore–an old coverless 80 PAGE GIANT starring Batman. A little sleuthing revealed this to be No. 5 in the GIANT series, a Silver Anniversary issue dated December ’64.
I had been reading Batman comics for some months by then and I knew how the Caped Crusader ought to look, but this other Batman had a square jaw, was a bit on the stocky side and there was no yellow spot around the bat on his chest!
Now, prior to the BATMAN TV show airing on the 12th of January ’66, I was totally unaware of who or what Batman was. As far as I knew, he was a new invention.
It came as a shock to me that there had been another Batman before the one that I knew.
the silver anniversary
Studying letter columns like a scholar, I pieced together the truth: that the Batman I knew had been born in the spring of 1964– in DETECTIVE COMICS No. 327 (May ’64), almost exactly 25 years after the first appearance of this original Batman in DETECTIVE COMICS No. 27 (May ’39).
The ghost of this original Batman is the one that haunted the Giants–in fact, the previous editor who had overseen Batman for twenty of those twenty-five years, Jack Schiff, was the editor of the BATMAN 80 PAGE GIANT.
Note: Julius Schwartz was the regular editor of the new Batman.
Reading between the lines, in the letter columns of the day, I found hints that a few Methuselahs still remembered the old days of the true Dynamic Duo and mourned their loss. One such reader was Biljo White, a major force in comic book fandom, the publisher and main creative wellspring behind BATMANIA, an infrequent comic book fanzine dedicated to all things Batman.
The relative popularity of this ‘zine took off in 1966, thanks to the TV show and the Batman craze which itself was called Batmania (in the fashion of Beatlemania). However, White had launched his publication in 1964, soon after the birth of the New Look Batman and the death of the old one.
the white pages
That Biljo White’s BATMANIA should be a calling card for the New Look, despite Biljo’s personal attachment to the Old Look, is just one of the many ironies that seems to hang around this super-fan.
Before his own fanzine, White had been contributing a lot of exceptional art, as well as some articles, to ALTER-EGO–one of the most significant ‘zines for comic book collectors of the day.
Back then, fandom is mostly made up of teenagers and adults, in contrast to the main readership for most comic books: little kids.
The past for common readers doesn’t extend beyond five years. This is the editorial assumption at National Periodicals and a guiding principle for the composition of their Giant reprint issues–editors believe they can reproduce out-of-date stories, because for their readers these are totally new.
It also means editors aren’t beholden to any continuity that is more than five years old, since the kids won’t know any different if some major detail is changed.
But the comic book collectors who publish fanzines have long memories.
In BATMANIA No. 1 (dated July ’64), Biljo White presents excerpts of letters which reflect what most fans think about the extinguishing of the old familiar Batman and the introduction of the New Look.
The bulk of these fans seem to believe the early Batman was all right enough, but the bloom had definitely gone off the rose–and the new art by Carmine Infantino is an improvement over the work of Bob Kane (Batman’s de facto creator).
As the prime Batmanian, Biljo takes a different posture:
With so many fans lining up with Infantino, I feel it is most necessary I form the line for Bob Kane. There has been no other artist I’ve studied more than that of Bob and it is not my intention to defend him. I’m convinced this fine artist does not need defending, for who else do you know that has worked continuously on his own strip for so many years?
An artist’s style is continually changing so I wonder how many fans will still value Infantino, Kubert, or Manning art ten years from now . . .
Biljo then goes on at length about the virtues and the changes in Bob Kane’s style over the years. [This whole fanzine can be found at Comic Book Plus].
What White says about Bob Kane is yet another irony. Time has revealed a lot about Batman’s creative history that the fans didn’t know back then. But I’m not about to muck that rake here. Like most kids at the time, when I saw the Bob Kane credit I believed it (but trying to figure out why art looked so different from one story to the next inspired a lot of theories on my part).
While Biljo might have got some of his facts wrong, he still makes a valid argument. The fanbase are being fickle and ought to give the 1963 Batman his due!
the black casebook
Even in the early 21st century, Batman readers continue to dismiss the 1963 Batman out of hand as somehow invalid. Jack Schiff is heaped with scorn for having dragged down the Caped Crusader with stories that are too bizarre or childish. Bat-fans have forgotten that this is the same Jack Schiff who edited Batman since 1943 and then for the next twenty years, who oversaw many classic adventures of the Dynamic Duo, working with several of the great creative talents in the history of the medium, as well as editing a whole range of DC comics besides just Batman.
When Grant Morrison becomes the main writer on BATMAN in 2006, he makes it his mission to rehabilitate, or at least excuse, some of those more outlandish yarns. The convenient story device he uses is the Black Casebook–a special file that Batman keeps for his outre cases.
Mind you, Batman has always had bizarre adventures, even in his early days. Witness his encounters with the Duc d’Orterre in DETECTIVE COMICS No. 34 (December ’39) and Professor Strange in DETECTIVE COMICS No. 36 (February ’40) and others. Horror and science fiction are always in the mix together with the more down to Earth mystery cases. When the industry adopts the Comics Code in 1954, the funny books become arguably more sanitized. The Code prohibits a lot of supernatural elements (like ghouls and vampires), leaving science to be the usual excuse for why a giant monster might menace Gotham City.
Scenes dealing with, or instruments associated with walking dead, torture, vampires and vampirism, ghouls, cannibalism, and werewolfism are prohibited.–Comics Code Authority, 1954.
After the Comics Code, in addition to science fiction, there’s more about Batman’s growing family. Meanwhile, the traditional villains fall out of favour. Catwoman and Penguin are nowhere to be seen, but the Joker continues to enjoy a recurring role.
like flies in amber
In 1963, if Jack Schiff knows the end is near, he doesn’t betray the fact. On the face of it, events proceed in the Batman books that year, as they have for the last few years. The final year sees two more imaginary stories added to the others that Alfred typed for his own enjoyment, promising a bright future for the whole family. The expanded Batman family of characters–Batwoman, Bat-Hound, Bat-Mite, and Bat-Girl–routinely appear in stories alongside the Dynamic Duo. There are also the usual science fiction and mystery stories.
However, precisely a year before Jack Schiff’s finale, the Penguin makes a redoubtable return in BATMAN No. 155 (May ’63), The Return of the Penguin! This is followed by several other returns. Mad Hatter after a seven year absence, Mirror Man after nine years away, Dr. Double-X after five years, the Terrible Trio also after five, and an ersatz Cat-Woman nine years after the original had gone.
Two other recent foes are based in part on earlier creations. Clayface (Matt Hagen) debuts in DETECTIVE COMICS No. 298 (December ’61); he has the same name as the earlier Clayface (Basil Karlo) from DETECTIVE COMICS No. 40 (June ’40) and No. 49 (March ’41)–the resemblance ends with the name, since Matt Hagen has shape-shifting powers where Karlo did not. The new Cat-Man first appears in DETECTIVE COMICS No. 311 (January ’63); he must be based on Catwoman–or the Cat as she is known when she debuts in BATMAN No. 1 (Spring ’40). Meanwhile, the Joker–who first appeared in the very same issue as Catwoman–is still a going concern.
For a full run-down of stories see 12 Last Months of Batman and Robin.
So maybe in 1963, Jack Schiff sees an opportunity to bring back other concepts. The Flying Batcave (from eleven years earlier) is re-introduced. And the new Dr. No-Face (assumed to be Paul Dent) is reminiscent of both Two-Face (Harvey Dent), last seen in BATMAN No. 81 (February ’54), and False-Face from BATMAN No. 113 (February ’58) and even harkens back further to the no-face character in the untitled Duc d’Orterre story from DETECTIVE COMICS No. 34 (December ’39) by Gardner Fox, Bob Kane and Sheldon Moldoff .
It’s possible that, in going through the old files for the BATMAN ANNUAL reprint collections, Schiff sees the potential in giving some of these old ideas another go. And if you look at the stories in BATMAN ANNUAL No. 3 (Summer ’62)–on sale the 19th of June in ’62–a few inspirational stories are reprinted there.
Bill Finger, the uncredited co-creator of Batman and many other residents of Gotham City (including Oswald Cobblepot, aka The Penguin), scripts The Return of the Penguin. While the team of Sheldon Moldoff and Charles Paris provide the artwork, as they have on many another Dynamic Duo adventure.
The creative team digs into the story with relish, as if the old memories give them a new energy. And for the reader (the little kids I’m talking about–not the long in the tooth collectors), this is unknown history, so they must be educated on who the Penguin is and where he’s been all these years.
Bill Finger stories are always educational. The writer has fact files and idea files that he consults whenever creating a new script.
You can learn a lot by reading a Bill Finger story. Did you know that the ancient Chinese considered bats a good luck symbol and bat-wings signify happiness flying everywhere? Well, if you’d read BATMAN No. 155 you would!
Sheldon Moldoff is the primary Bob Kane ghost at the time (from 1954 up until 1967).
Most DC (aka NPP) comics feature PSAs–one page, informative comic strips promoting public values. These are written by Jack Schiff, while Sheldon Moldoff handles the artwork on some of them.
I always read these PSA features when I was buying National Periodicals in the ’60s. They seemed to embody the National character.
But I never picked up on the similarity between any art in those and in Batman. I don’t know of anybody who did–and yet it was staring us in the face all along.
red sky in the morning
While BATMAN No. 155 is a trip down memory lane, the next issue is a portent of doom, as it features Robin Dies at Dawn. Which is definitely one for the Black Casebook.
The issue begins with a Robin solo story–an innovative move for the time as it sets up the circumstances to follow in the next story. On his own, the Boy Wonder is assisted by a diminutive hero named Ant-Man.
I don’t know if this little guy is inspired by Marvel’s Ant-Man. After all, Tarzan had met Ant Men long before this and Doll Man had been one of Quality Comics’ big heroes in the Golden Age, despite his small stature. Plus the Atom (Ray Palmer)–DC’s shrinking super-hero–makes his debut in ’61. Any one of these Tiny Titans could be Finger’s inspiration for his Ant-Man.
Then the issue’s second story gets into the meat and potatoes right away: Batman is in a weird alien landscape, where he witnesses the death of his faithful partner and closest friend. He can do nothing to save the Boy Wonder.
But none of this is real! It is simply a psychic manifestation of Batman’s inner terror of losing his partner. The Caped Crusader is undergoing a secret psychological test for the space program. In the introduction for BATMAN: THE BLACK CASEBOOK (DC Comics, 2009, p. 6)– where this story is reprinted–Grant Morrison points out:
As . . . the more credible “New Look” approach looms, the aliens are no longer genuine extraterrestrials but creatures of innerspace, the products of hallucinations and distorted psychology.
Bruce Wayne’s distorted psychology is not new turf for the funny books, it’s been aound all along, going back to his earliest days, when one might have cause to question his sanity. In the aforementinoed Duc d’Orterre tale, in DETECTIVE COMICS No. 34, Bruce has a weird trip where he’s in a surreal landscape suggestive of the same surreal mindscape in BATMAN No. 56.
Moldoff and Paris do some stunning work on Robin Dies at Dawn–capturing the emotion and the weirdness of Batman’s experience. The cover image–what comic book aficionados call a pieta–has become a common motif. As well, this theme recalls a much earlier case where Batman thought Robin had died–The Case of the Honest Crook, by Bill Finger, Bob Kane and Jerry Robinson, in BATMAN No.5 (Spring ’41). In that tale as in this, the prospect of losing his partner takes a mental toll on the Dark Knight’s psyche.
Batman’s worries have just begun . . .
TO BE CONTINUED NEXT ISSUE in . . .
ROCK ME GENTLY–Andy Kim
. . . rock me gently, rock me slowly, the last week in May . . .
The first issue of Hal Jordan’s ongoing series, GREEN LANTERN (July-August ’60), goes on sale May 24 ’60.
On or about May 27 ’38, KEEN DETECTIVE FUNNIES No. 8 arrives at newsstands, from Centaur Publications, Inc. This is really the first issue of the title despite the issue numbering. This issue’s contents are reprinted from funny books published a year earlier by Centaur [aka the Comic Magazine Company].
DAREDEVIL COMICS No. 2 (August ’41) is the first issue with that name (the previous issue having been called DAREDEVIL BATTLES HITLER. This issue introduces several new features, including Pat Patriot (written by Charles Biro and Bob Wood; illustrated by Frank Borth). On newsstands May 27 ’41.
Gold Key gets away with publishing ASTRO BOY No. 1 (August ’65). But if you buy this comic on May 27 ’65 (or thereafter) when it goes on sale, don’t hold your breath for a second issue. Created in Japan by Osamu Tezuka, Astro Boy [aka Atom-Taishi–Ambassador Atom–or Atom-Tetsuwan–Mighty Atom] has appeared in anime, as well as manga. It was this anime version of Astro that NBC used for their English language ASTRO BOY series on TV. This NBC then licensed to Gold Key–a kind of third hand version of Tezuka’s original concept. And as such, intended for little North American children in the ’60s, the Gold Key comic has none of the angst or morbidity of the original manga. Tezuka has denounced the GK book for being unauthorized and unfaithful to his work. But it’s a fun read!
On May 28 ’39, Fox’s WONDER COMICS becomes WONDERWORLD COMICS with issue No. 3 (August ’39) and introduces the Flame–cover by Will Eisner and Lou Fine. Also: read the latest Movie Memos by Glenda Carol.
The July ’41 issue of REG’LAR FELLERS HEROIC COMICS (No.7) presents the debut of Man O’ Metal illoed by H.G. Peter—also in this ish another Hydroman adventure from Bill Everett and Star Flashes by Charles Bruno, published by Eastern Color and on the stands May 29 ’41. Cover by Everett.
Editor Mort Weisinger continues to expand Superman’s universe with ACTION COMICS No. 242 (July ’58), which introduces the space-villain Brainiac, his space-monkey Koko, and the bottle city of Kandor. Come for the Brainiac, stay for the Koko on May 29 ’58.
Direct Currents for May 31 ’67: In ADVENTURE COMICS No. 358 (July ’67)–he hunts the worlds’ most dangerous game, he is the Hunter, and the Legion of Super-Heroes are his prey (by Jim Shooter and George Papp). In ACTION COMICS No. 352 (July ’67)–Zha-Vam continues his challenge to the Man of Steel (by Otto Binder and Wayne Boring. In DETECTIVE COMICS No. 365 (July ’67)–in the face of crass commercialism what is a costumed crook to do but get in the act, which is what happens in the House the Joker Built (by John Broome, Sheldon Moldoff and Joe Giella).
8 More Days Louise! for May, it’s more than a feeling, when I hear that old song they used to play (more than a feeling) . . .
On sale about May 1 ’52, Charlton unveils its own science fiction anthology, SPACE ADVENTURES No. 1 (July ’52).
At newsstands May 2 ’51, STRANGE AVENTURES No. 9 (June ’41) introduces a mutant, a man of the future in our presentday, Captain Comet–created by writer John Broome and artist Carmine Infantino, with inks by Bernard Sachs. Cover by Infantino.
SUPERMAN meets the three Supermen from Krypton, in issue No. 65 (July-August ’50) of his popular magazine, out on May 3 ’50.
SUPERMAN No. 162 (July ’63) goes on sale May 2 ’63, featuring the Greatest Imaginary Novel of them all–The Amazing Story of Superman-Red and Superman Blue–by Leo Dorfman, Curt Swan and George Klein. Cover art by Kurt Schaffenberger. Also in this issue: Super-Turtle by Henry Boltinoff.
On sale May 20 ’58, SHOWCASE No. 15 (July-August ’58) presents the debut of Space Ranger.
Coming May 26 ’42, on the cover pencilled by Jack Kirby, with inks by Joe Simon and Jerry Robinson, for DETECTIVE COMICS No. 65 (July ’42), Batman and Robin welcome the Boy Commandos (although, in fact, the first BC story was in the previous issue, on sale April 26).
Captain Comet has to choose the Lady or the Tiger-Man in STRANGE ADVENTURES No. 34 (July ’53)–at newsstands on May 29 ’53.
All on sale dates might be approximate, as provided by Mike’s Amazing World of Comics (The Newsstand) and by other sources.
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