Batman (1940) #355

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So does Conway ever explain why Selina has gone nuts? Nope. He resolves it all in a page–a beautifully illustrated one–where Bruce basically admits he was only taking up with Vicki (who Catwoman hospitalizes early in the issue) because Selina left him.

It’s a very problematic issue because Conway does lots of it well. It’s Batman and Catwoman fighting, but it’s about Bruce and Selina. There’s even some good stuff about Dick changing his mind about Selina and so on.

It’s just too bad Conway couldn’t have incorporated the crime fighting Catwoman backups… and maybe made she and Bruce’s story independent of the Vicki Vale stuff.

The art is mostly excellent, but there are some strange weak points. There’s the whole sequence with Gordon getting his job back… it doesn’t look right. The sublime Alcala inks aren’t there.

The issue ends on a lovely panel, so it gets a pass.

Batman 355 (January 1983)

It’s just too bad Conway couldn’t have incorporated the crime fighting Catwoman backups… and maybe made she and Bruce’s story independent of the Vicki Vale stuff.

The art is mostly excellent, but there are some strange weak points. There’s the whole sequence with Gordon getting his job back… it doesn’t look right. The sublime Alcala inks aren’t there.

The issue ends on a lovely panel, so it gets a pass.

CREDITS

Never Scratch a Cat; writer, Gerry Conway; penciller, Don Newton; inker, Alfredo Alcala; colorist, Adrienne Roy; letterer, Ben Oda; editors, Nicola Cuti and Len Wein; publisher, DC Comics.

Batman (1940) #354

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Conway’s starting to wrap up his big storyline and, again, it’s bumpy. He’s got Vicki Vale rushing off to see Bruce–Bruce who hasn’t thought of Vicki since she first showed up two dozen issues ago (she’s been around as a plot twist)–not to mention Hugo Strange showing up at the end, back from the dead.

But the big problem is the resolution of the political situation. It’s Batman versus the cops, round two, and this time the police commissioner can’t shut up about how they need to kill Batman to keep him quiet. Again, pretty sure Batman has someone he could call about corrupt politicians taking over a major metropolitan city and killing people. I don’t know, maybe Superman? Does Batman have Superman’s phone number?

But it’s Newton and Alcala so who cares if the story doesn’t make any sense? From the first page, it’s a visual delight.

Batman 354 (December 1982)

But it’s Newton and Alcala so who cares if the story doesn’t make any sense? From the first page, it’s a visual delight.

CREDITS

Showdown; writer, Gerry Conway; penciller, Don Newton; inker, Alfredo Alcala; colorist, Adrienne Roy; letterer, Ben Oda; editors, Carl Gafford and Len Wein; publisher, DC Comics.

Detective Comics (1937) #520

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You know what… I’m not sure I’ve seen a better inker on Newton than Alfredo Alcala. The art this issue is exceptional. It’s so wonderful, it makes up for Conway’s leap off the judgement bridge.

The story itself isn’t bad. Batman is putting together all the clues about Rupert Thorne, as Thorne hires Dr. Thirteen to ghost-bust Hugo Strange. Then Batman has to just Deadshot out of prison, which I guess provides the issue’s action sequence.

For whatever reason, Conway writes it in second person, the narration describing each character’s thoughts to him (Vicki Vale doesn’t get that treatment). It’s absolutely horrendous. I think Conway’s doing it to get the tension up, since his lengthy arc is about to end… but it utterly fails.

Thank goodness for the art.

The Catwoman backup is genial. It’s got nice Gil Kane art and Rozakis’s script is fine. While filler, it’s got potential.

Batman (1940) #353

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With the amazing cover and the Garcia-Lopez art, it’d be impossible not to at least enjoy the issue. It’s just a Batman versus the Joker issue–this time the Joker’s making a monument to himself, angry Gotham was going to make one to Broadway musical stars instead. On some level, I agree… Broadway musical stars?

Conway’s Joker is both nuts and dangerous–he opens the issue killing one of his henchmen. It’s very iconic Joker stuff, actually. I remember the issue from when I was a kid.

There’s some development on the subplots–Batman’s finally on to Rupert Thorne, probably a year after he was released. Good thing Batman didn’t keep tabs on him, or else there wouldn’t be a long gestating storyline.

The backup is all right. Barr does a good job writing Robin as a somewhat naive kid and Newton’s art is fantastic. Again, “Matches” Malone is just a completely goof.

Detective Comics (1937) #519

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Kupperberg writes Batman and Robin like something out of the TV show. They’re celebrities, they go on very public adventures, Robin loiters awkwardly around the Batcave in his tights. The approach is just awkward–it’s like a fifties story stretched over a whole issue so there’s no way it isn’t going to overstay its welcome.

In this story, Batman has a Washington DC adventure and Robin goes to the arctic. It feels like a James Bond parody.

Having Calnan on the inks is also a problem, but it’s not like, even with the regular quality Newton art, the story wasn’t going to be weak. Kupperberg doesn’t even give the issue any subplots. It’s just Batman and Robin splitting up to fight the villains.

However, at least the Batgirl backup is worthwhile. Randall continues to overwrite, but what she’s overwriting is interesting. Here, Batgirl loses, feels bad, story ends. Plus, great art.

Detective Comics 520 (November 1982)

Thank goodness for the art.

The Catwoman backup is genial. It’s got nice Gil Kane art and Rozakis’s script is fine. While filler, it’s got potential.

CREDITS

The Haunting of “Boss” Thorne; writer, Gerry Conway; penciller, Don Newton; inker, Alfredo Alcala; colorist, Adrienne Roy; letterer, Ben Oda. The Cat and the Conover Caper!; writer, Bob Rozakis; artist, Gil Kane; colorist, Tom Ziuko; letterer, Adam Kubert. Editors, Carl Gafford and Len Wein; publisher, DC Comics.

Batman 353 (November 1982)

Conway’s Joker is both nuts and dangerous–he opens the issue killing one of his henchmen. It’s very iconic Joker stuff, actually. I remember the issue from when I was a kid.

The backup is all right. Barr does a good job writing Robin as a somewhat naive kid and Newton’s art is fantastic. Again, “Matches” Malone is just a completely goof.

CREDITS

Last Laugh; writer, Gerry Conway; penciller, Jose Luis Garcia-Lopez; inker, Dan Adkins; letterer, Ben Oda. The Sting–Batman Style; writer, Mike W. Barr; penciller, Don Newton; inker, Dennis Jensen; letterer, Todd Klein. Colorist, Adrienne Roy; editors, Carl Gafford and Len Wein; publisher, DC Comics.

Detective Comics 519 (October 1982)

In this story, Batman has a Washington DC adventure and Robin goes to the arctic. It feels like a James Bond parody.

However, at least the Batgirl backup is worthwhile. Randall continues to overwrite, but what she’s overwriting is interesting. Here, Batgirl loses, feels bad, story ends. Plus, great art.

CREDITS

…Like a Dreadnought in the Sky!; writers, Gerry Conway and Paul Kupperberg; penciller, Don Newton; inker, John Calnan; colorist, Adrienne Roy; letterer, Ben Oda; editor, Len Wein. …When Velvet Paws Caress the Ground!; writer, Barbara J. Randall; penciller, Trevor von Eeden; inker, Rodin Rodriguez; colorist, Gene D’Angelo; letterer, Janice Chiang; editor, Dick Giordano. Publisher, DC Comics.