Batman Family 17 (April-May 1978)

3140 This issue has a neat thread running through its three feature-length stories. The Huntress (from Earth-Two) comes to Earth-One for a visit. In the Batman story, she meets him and Robin. Then she teams up with Batgirl and Batwoman. For the finale, her going home sets off the events for Man-Bat and the Demon’s story.

Gerry Conway and Jim Aparo’s Batman story is okay. Conway pauses on some character stuff–Batman meeting his “daughter”–but ignores other obvious moments, like Robin’s girlfriend being a shallow mean girl. Dick’s upset most of the issue, so his Aparo brow fits. And the ending twist’s decent.

Bob Rozakis writes a lot better than Don Heck draws the three female superheroes teaming up. Lame villain characterizations, but great stuff with Batgirl.

The winner is the Man-Bat and Demon story. Rozakis’s script is fun and Michael Golden’s artwork is breathtaking.

CREDITS

Scars; writer, Gerry Conway; artist, Jim Aparo; colorist, Adrienne Roy. Horoscopes of Crime!; writer, Bob Rozakis; penciller, Don Heck; inkers, Bob Wiacek and Vince Colletta; colorist, Jerry Serpe; letterer, Clem Robins. There’s a Demon Born Every Minute; writer, Rozakis; artist, Michael Golden; colorist, Serpe; letterer, Jean Simek. Editor, Al Milgrom; publisher, DC Comics.

The Untold Legend of the Batman 3 (September 1980)

Untold Legend limps across the finish line. Aparo’s art doesn’t even maintain interest (his “handsome man” standard is really boring and in this one a lot). But it’s mostly because Wein doesn’t have any interesting flashbacks this issue.

There’s Commissioner Gordon, which should be more interesting–it briefly recounts Gordon’s time spent hunting Batman–but Wein doesn’t give it enough time. Then Batgirl gets a few pages. Again, not paced well and quite absurd. Gordon’s standing around his office talking to himself about his daughter being a superhero.

Then the final flashback is Lucius Fox for a page. It’d be pointless if there were any point to Untold Legend except as a primer for new or returning readers.

But Wein’s writing isn’t even on par for marketing material. Hostess Fruit Pie ads are better written.

The ending’s nearly iconic though, maybe the quintessential (good) Aparo Batman story closer. Very memorable.

The Untold Legend of the Batman 2 (August 1980)

With Byrne gone–and Aparo taking all the art duties–Untold Legend actually becomes visually distinctive. While Aparo’s faces aren’t compelling, he does a lot of nice work this issue. Wein’s script covers a lot of events and Aparo has a particularly nice time with Alfred’s flashback. The war panels are excellent.

This issue, Wein covers Robin and Alfred’s origins and also Two-Face and the Joker. The most interesting historical continuity details? Wein’s Joker isn’t insane, he just thinks being funny looking will scare people. Also Alfred… he wasn’t always the Wayne butler. Wein should have told the whole series from Alfred’s perspective.

Somehow having the comic less from Batman’s perspective works better. Wein’s Batman is obnoxious.

Like I said, the series is worth a look just for historical interest with the mashed together origin events, but Wein’s framing story is just plain lame.

It’s not even a mystery.

CREDITS

With Friends Like These…; writer, Len Wein; artist and letterer, Jim Aparo; colorist, Glynis Wein; editor, Paul Levitz; publisher, DC Comics.

The Untold Legend of the Batman 1 (July 1980)

The Untold Legend of the Batman might have good art… but it’s hard to tell. Each page is packed with panels–except one pin-up page, which is pretty good–and it’s hard to get a handle of John Byrne’s pencils (with Jim Aparo inking).

Some of the pages are pretty good though, but it’s certainly not a comic to read for the art. Sadly, it’s also not a comic to read for the writing.

Untold Legend is a streamlined retelling of Batman’s original, adding in all the Earth-One origin developments. It’s excellent as a curiosity (I’d forgotten teenage Bruce Wayne was Robin to some police detective) but Len Wein’s writing is atrocious.

Most of the comic is Bruce retelling his history to Alfred. One would assume Alfred would know some of these events, if not all.

The issue’s painful at times, a shopping list of contrived origin events.

The Phantom Stranger (1969) #14

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I don’t think I’ve ever seen pre-eighties Jim Aparo before. It’s absolutely stunning. The tight faces are present, but there’s also a bunch of energy. I never would have thought he’d be a great Phantom Stranger—or any supernatural story—artist, but he excels.

Len Wein comes up with two good stories for the issue, though the Stranger one is better. This villain figures out a way to capture the Stranger and then takes out his heart, figuring transplanting it into his body will give him immortality. Of course, it doesn’t work out as planned (does the Phantom Stranger actually need a physical heart?). Wein has some purple narration, but the plot moves fast and Aparo makes it damned creepy.

The Doctor Thirteen backup is a little silly (Wein opens with a swamp monster and ends with a sci-fi thing), but Tony DeZuniga’s art makes it simply wonderful.

Detective Comics (1937) #500

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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.