The Night Force 4 (November 1982)

Between the evil German guy and the light show at the end of the issue, it’s like Wolfman doesn’t even care he’s being obvious in a Raiders of the Lost Ark rip-off. Maybe, at the time, being so obvious was meant as homage.

There’s actually one really cool idea, easily the best of the series so far. The good guys have this book to help them on their quest and it changes to fill in details. Or something. Whatever it does, it’s the best thing Wolfman’s come up with.

On the stupid side, Baron Winters is scared of cops. Wolfman really doesn’t think anything through.
At least he doesn’t bother with a bad hard cliffhanger this issue. It’s a soft, dumb one, which is a–in Night Force terms–far better.

Colan’s got some fabulous artwork though, as there’s a lot of supernatural nonsense. He excels at drawing it.

The Night Force (1982) #3

The Night Force 3

Well, Wolfman certainly didn’t try too hard with this issue’s cliffhanger. The good guys are about to be run over by a boat, or whatever that situation is called. For a comic book about the supernatural, most of Wolfman’s Night Force action is pedestrian. And when it is supernatural… the scenes never last very long.

This issue opens with Baron Winters talking to his pet tiger. The tiger (or leopard) doesn’t respond, which makes Winters sound like some kind of a lunatic. The comic would have been a lot better if the pet were just some doped up wild animal and Winters was a rich nutcase.

Sadly, that turn of events is unlikely.

The only amusing part of the comic is the black guy looking different than in the last couple issues.

Wolfman’s recycling the action set pieces (this issue ends with the first issue’s opening one). It’s a bore.

The Night Force 3 (October 1982)

Sadly, that turn of events is unlikely.

The only amusing part of the comic is the black guy looking different than in the last couple issues.

Wolfman’s recycling the action set pieces (this issue ends with the first issue’s opening one). It’s a bore.

The Night Force 2 (September 1982)

The second issue is a little better. Colan’s art isn’t as concentrated on creating Tomb of Dracula stand-ins and Wolfman doesn’t have anywhere near as much exposition. Plus, Baron Winter has a far reduced presence, which seems to help.

But Wolfman does have his “hero,” reporter Jack Gold, knock boots with a twenty year-old girl whose spent her life in institutions. Sure, the “Blade as college professor” guy is upset about it for those reasons, but the reader’s supposed to sympathize with Gold.

Hey, wait a second, if Wolfman’s got me remembering characters names, I guess he’s doing something right.

Something, but not a lot.

There’s still a lot of undefined supernatural nonsense and a mystery villain or two. Wolfman’s trying too hard and flopping, which seems like a shame given the Colan art.

But it’s possible the series could improve… But it’s got a steep climb ahead.

The Night Force 1 (August 1982)

It’s all so mysterious! Marv Wolfman finishes the issue with a letter to readers, maybe to convince them they haven’t just read a knock-off of Tomb of Dracula. Damage control, I guess.

Wolfman isn’t doing too much of a rip-off, I suppose, he’s just setting Gene Colan up with Dracula-like situations and characters. Whether it’s the white dude or Blade or Dracula himself, there are visual analogs galore in The Night Force. There just isn’t a lot of content. The issue goes on forever setting up the characters, but they’re all weak. Whether it’s the divorced reporter who’s down on his luck (but drives a Porsche) or the scientist working for the Pentagon, Wolfman doesn’t introduce anything original. He does try to be grown-up–the issue opens with talk of open marriages–but it comes off desperate.

It’s a cash grab and not a good one.

Detective Comics 533 (December 1983)

It’s an issue of inappropriate inking. Smith is so reductive on Colan’s Batman inks, the story loses any visceral impact. Instead, it becomes almost academic–seeing where Colan’s pencils have been too diluted for a page to work. The layouts are still fantastic, but not the finished art.

Moench resolves his Gordon storyline–while still stoking the Jason and Bruce one (and no one misses Alfred, which is strange)–and it’s a flop. It’s like no one told Moench Barbara Gordon was also Batgirl. And Moench attempts at inspirational flop painfully. It doesn’t help he’s got a bunch of hackneyed thugs out of a forties comic.

Still, great Colan layouts.

Then there’s the Green Arrow backup. Truly lame writing from Cavalieri can’t overshadow the odd art. Chuck Patton is a boring, superhero penciller. But Shawn McManus inks him, adding a lot of McManus lines. The story’s artistically interesting, if terrible.

Detective Comics 532 (November 1983)

Bob Smith is not the best inker for Colan. He reigns him in way too much. There’s still some great Colan panel layouts this issue though and his Joker has to be seen. Colan’s Joker is hideous with insanity, an awkwardly lump figure, not the usual anorexic. Every Joker panel is great in some way or another.

Moench’s story involves the Joker wanting to start a rival to Disneyland. It’s too absurd and contrived, but the art sells it and Moench’s writing of Batman and the Joker is strong. The humor’s good too. Moench has some good jokes here, especially those involving the Joker.

Alfred’s subplot is revealed and, once again, Moench seems to be rehabbing Harvey Bullock. Both are still too undeveloped to make much impression.

The Green Arrow back-up again has decent enough Moore art, but Cavalieri’s banter is terrible. The seven pages can’t end soon enough.

Detective Comics (1937) #500

Dc500

For issue 500, DC went with something rather celebratory for Detective Comics–it’s very oversized (84 pages) and has many Detective Comics regulars–back to Slam Bradley–making appearances.

The opening Batman story, from Alan Brennert and Dick Giordano, is fantastic one about Batman going Earth-3 to save his parents. It’s a great, touching story. I love it. I’ve probably read it, in one place or another, like ten times.

The rest is mostly a mess. Len Wein’s Bradley story is atrociously written, the Mike W. Barr Elongated Man story is flat–the Hawkman story does have some beautiful Joe Kubert artwork and a nice Martian Manhunter cameo (he doesn’t appear otherwise).

The final story, by Cary Bates and Carmine Infantino, featuring Batman and Deadman, is a total mess.

I couldn’t get through Walter Gibson’s prose story.

But it’s worth it for the opener alone and it’s well-intentioned.

Detective Comics 500 (March 1981)

The final story, by Cary Bates and Carmine Infantino, featuring Batman and Deadman, is a total mess.

I couldn’t get through Walter Gibson’s prose story.

But it’s worth it for the opener alone and it’s well-intentioned.

CREDITS

To Kill a Legend; writer, Alan Brennert; artist, Dick Giordano; colorist, Adrienne Roy; letterer, John Costanza. The “Too Many Cooks … ” Caper!; writer, Len Wein; artist, Jim Aparo; colorist, Tatjana Wood. The Final Mystery of Edgar Allen Poe!; writer, Mike W. Barr; artist, Jose Luis Garcia-Lopez; colorist, Wood; letterer, Costanza. The Batman Encounters – Gray Face; writer, Walter Gibson; artist, Thomas Yeates. The Strange Death of Doctor Erdel; writer, Paul Levitz; artist, Joe Kubert; colorist, Wood; letterer, Adam Kubert. What Happens When a Batman Dies?; writer, Cary Bates; penciller, Carmine Infantino; inker, Bob Smith; colorist, Roy; letterer, Costanza. Editor, Levitz; publisher, DC Comics.