Detective Comics #68

Detective Comics #68, cover date October 1942, features the exact same creative team as last issue, and is easily a must-read. Putting that right up top so you can go read it blind. If you enjoyed Tec #66 and want to see the story’s conclusion, here it is. The cover is great, featuring Two-Face front and center as if to say “here’s what you’ve been waiting for!” I can’t imagine how agonizing it must have been to be a kid at this point, having to wait two whole months to see how the most exciting Batman yarn yet reached its end. We pick up right where we left off in #66 – the coin is still standing on its edge, what will Two-Face do? He picks up the coin, and refuses to flip again – he only flips once for every issue, and since he already flipped, he’ll let fate decide his path, now. Just then, a GCPD officer bursts in and shoots Two-Face! The shot doesn’t kill the former DA (the coin, ironically, blocks it), but it does decide his fate – Two-Face will remain a villain. Harvey escapes and embarks on a new crime spree. During the course of his rampage, Two-Face successfully knocks Batman out, and we get a hint that he can still be saved, “I could kill the Batman – but I’m not a killer yet…besides, he was my friend! Well…I’ll get going before I give in to temptation!” It’s simple, but it goes a long way to emphasizing the tragic nature of Two-Face when compared with the other villains. He doesn’t hate Batman because he’s innately evil, like the Joker, he doesn’t really hate Batman at all! He’s just a sick man who needs help, but can’t get the kind he needs. Not for lack of trying though! Since plastic surgery is off the table, Harvey uses wax makeup to make himself look normal again so he could see Gilda. But, in keeping with the endless tragedy, the wax melts and Gilda sees that Harvey, even his good side, is becoming lost in his villainy. Ultimately, the story ends with Two-Face in jail, and an exceedingly somber victory. Harvey was so close to being cured, but fate kept stepping in to ruin things. The tragedy of Two-Face is one of the best Golden Age stories, by far. Finger really knocked this one out of the park. Oh, yeah, and Kane’s art is ok for him, I suppose.

Detective Comics #67

Detective Comics #67, cover date September 1942, features a story by the Finger-Kane-Robinson team, and a cover by Kane and Robinson. This is our old friend the Prnguin’s cover debut! It’s a delightful chase scene featuring Penguin riding atop an Ostrich! We can only hope Colin Farrell does so in the upcoming show…

The story itself is…fine. A standard Penguin affair, where he uses birds (and the alias I. Waddle) to rob unsuspecting Gothamites. The climax involves Batman convincing a penguin to bring him a lighter in its bill – not even joking. It’s hard to say much more because the story opens with the most egregiously racist caricature of a Chinese-American yet – and that’s saying something! Gone are the days of the misguided, yet ultimately noble portrayal of Chinatown Mayor Wong. Sing Lo is an embarrasment, and very sadly a product of his time. Considering the plot itself is exceedingly formulaic and cheesy, and the artist is Bob Kane, this is an easy skip.

Detective Comics #66

Detective Comics #66, cover date August 1942, features the return of the Finger-Kane-Robinson team to the title, with Robinson being the sole cover artist. Said cover is very solid, featuring a scene of daring action and excitement. The figures are all clean, and Batman’s face is solid. Nothing groundbreaking, but solid nonetheless. Now, as for the issue itself: it’s a must-read. If you don’t want to know any details, then stop reading this post and go read the issue – it’s good! This is the debut of Two-Face, and features his origin, and so by default it’s a must-read. All of the familiar pieces are here: young D.A. Harvey “Apollo” Kent (not Dent) is prosecuting “Boss” Moroni (not Maroni), and just as he pulls out the clincher – Moroni’s two-headed silver dollar – the criminal throws acid at the lawman. Batman tries to block the attack, and so only half of Kent’s face is scarred – but what horrific scars they are! What’s unique about this original version of the story is that Kent does not snap immediately, it’s a more gradual process. First, he learns that the world’s top plastic surgeon, Dr. Ekhart, was sent to a concentration camp by the Nazis (!). Then, as he returns home, and people recoil at the sight of him, the reality of his situation ways on the poor man. Finally, when his fiancée Gilda (here a skilled sculptor), sees and is horrified by Harvey’s new visage, the weight of things becomes too much, and Kent snaps. He declares himself Two-Face, a modern Jekyl and Hyde. He takes out and scars one side of Moroni’s silver dollar, this object that is the cause of all his suffering, and begins his criminal escapades. If the coin lands on the bad side, Two-Face commits a crime. If it lands on the good, he does a good deed. This is something I feel is missing from modern iterations of the character – he regards the good side of the coin only as a refusal of the bad, rather than an encouragement to do good. It’s much more compelling (and creates a more interesting moral dilemma) if Two-Face, as he does in this story, donates money to the local orphanage or pays off a good man’s mortgage. Not only is he Jekyl and Hyde, but also a kind of Robin Hood! But, he is still a thief and a killer, and so Batman and Robin have to take down their old friend and ally. After two daring encounters, Batman confronts Two-Face in his split-down-the-middle hideout. Batman convinces Two-Face to flip his coin, and see if he should turn himself in or not. The coin flips high, lands on the floor…and gets stuck in a crack, standing on its edge! And that’s where the comic ends! Finger ends one of his best Batman stories yet with a cliffhanger, promised to be resolved in Detective Comics #68, cover date October. Wow. He clearly knew he had something special here, a story of the highest order. And Kane’s art is surprisingly able to live up to it, this is some of his best work in a while. Good for Kane doesn’t mean especially good overall, of course, but the art is solid enough so that it mever detracts from the story. But the excellently-penned drama here, with arguably the most dynamic, three-dimensional villain yet, is well worth reading on its own merits. An absolute masterpiece, and a definitive must-read Batman issue.

Detective Comics #65

Detective Comics #65, cover date July 1942, features a cover by the indomitable team of Jack Kirby and Joe Simon. While Kirby’s style has yet to evolve into the iconic, signature one that defined the look of Marvel Comics in the 1960s, it’s still quite surreal to see Kirby’s name attached to a Batman comic, and so early on. The reason for Kirby drawing this cover is obvious – this issue marks the debut of his and Simon’s “Boy Commandos” feature. Unfortunately, despite the cover, we won’t see the commandos and the caped crusaders team up. Instead, writer Joseph Greene, pencilier Jack Burnley, and inker George Roussos take us on a journey to that magical, mystical land of the northern USA! Yes, you read that right, this is the first issue of Detective Comics without the involvement of Bill Finger, Bob Kane, or Jerry Robinson, and so in that sense it’s a milestone. Greene’s story is solid enough – a police officer hates Batman inexplicably, and the Dark Knoght would like to get to the bottom of it, because he can tell the officer is a good man. It’s all based on a misunderstanding, and eventually Batman and the officer team up to beat the bad guy. The story’s inherent interest in a regular person is very much in the spirit of Bill Finger, and I appreciate it. Also of note, Greene claims that Batman has been around for five years, since 1937, instead of only three years, since 1939, as per later sources (and the fact that ‘Tec #27 released in 1939). Burnley’s art is solid, but not as clean as his covers are. Some weird faces and missing faces pop up, just like in Kane work, but this is still a step up overall. So, while not a must read, this is still a solid issue.

Detective Comics #64

Detective Comics #64, cover date June 1942, features the exact same creative team as last issue. I think I prefer this cover to the previous issue’s. None of the faces are especially ugly, most of the posing is good, and the colors are absolutely beautiful. The lighting effect on the bottom of the plane is gorgeous, absolutely lovely work. I’m not sure why Batman has his hands sassily placed on his hips, but I also don’t hate it. Overall, a solid cover. The interior art is similarly solid, on the higher end of the Kane spectrum for sure. Not incredible, but nothing terrible, either. And as is the theme of the issue, the story is solid. Yet another Joker romp (yes, after a mere two issues he’s back. And he’ll be headlining the next issue of Batman. I always laugh at people who say the Joker is overused in modern comics because, while it is true, it really doesn’t compare to how omnipresent he was in these early years), but one that lacks the intriguing characterization of the previous issue. Joker pretending to have gone straight is admittedly pretty funny, but since it’s all an act it doesn’t carry with it the weight of his choice to not unmask Batman in ‘Tec #62. So, while this issue certainly isn’t bad, it’s not a must-read.

Detective Comics #63

Detective Comics #63, May 1942, features a story penned by Bill Finger and cover and interior art by the Kane-Robinson team. The cover is so close to being perfect. The setting is perfect, the movement and posing seems authentic but…God, those faces are so weird. Why is Robin staring at the reader? That dang kid is sucking away my soul…ugh. Such a great cover that falls flat in the 11th hour. The interior art is of the usual low-quality Kane schlock. Finger’s story, however, is very solid. He introduces a new nemesis for Batman named Mr. Baffle, who’s a sort of gentleman rogue. Batman and Baffle have a genuine respect and admiration for one another. It’s a fun dynamic that we’ll sadly never see more of. So, this was a fun, if non-essential, issue.

Detective Comics #62

Detective Comics #62, cover date April 1942, features a story by Bill Finger and interior and cover art by the Kane-Robinson team. I really like this cover. Sure, Robin’s face is a little weird but the overall scene is a fun one. And, hey, this is Joker’s first cover appearance! The guy has appeared so much by now, and so it’s nice to see that reflected on the cover. It also means that the cover is an adequate representation of what you’re getting in this issue, unlike previous issues that featured the Clown Prince of Crime.

The interior art is of a much lower qualitt than the cover. One of Kane’s weaker outings in recent months. The real highlight, however, is the story. For most of the issue, it’s a standard Joker affair. But then Joker captures Batman, and that’s where we get one of the most important scenes in the Golden Age of Batman. Joker has Batman at his mercy, and is about to remove the crimefighter’s mask, ending his career for good when suddenly…the Joker stops, and says, “Ha! Ha! No! It’s too simple…unworthy of my intelligence! And I like these battles of wits! The hunt…the chase!…That’s the breath of life to me!”

Wow. Keep in mind, this was 1942. Joker had only appeared a handful of times by now. And yet, right here, we come to one of the most critical pieces of his characterization, that has persisted to this very day. The Joker cares far more about his dynamic with Batman, then learning who he is or revealing his identity. What would otherwise be a skippable story has been elevated, by three mere panels, into one I’d consider a must-read.

Detective Comics #61

Detective Comics #61, cover date March 1942, features a story written by Bill Finger, interior and cover pencils by Bob Kane, and interior and cover inks by Jerry Robinson. I actually really like this cover. Batman and Robin being gigantic is a little odd, but the details on the cityscape are solid. It loses some points due to the first splash page being a nearly identical drawing (chock it up to Kane’s laziness), but is otherwise an exciting cover that surely drew young eyes to this book.

The interior art is of a similar high quality (relative to Kane’s standard). Nothing too incredible, but nothing as horrifying as Gordon’s face at the end of Batman #9.

Bill Finger’s story is a pretty basic Batman vs crooks scenario, with a clever framing sequence. Basically, three mob bosses each detail how Batman best them while they play cards in prison. So, while this issue isn’t a must-read, it’s a fun time and there’s no reason to skip it.

Detective Comics #59

Detective Comics #59, cover date January 1942, features cover and interior pencils by Bob Kane, cover and interior inks by Jerry Robinson and a story by…Joseph Greene?! That’s right, folks, this is the first issue since Detective Comics #34 to be written by someone other than Bill Finger. Twenty-four issues in a row is nothing to sneeze at, though, especially when you throw in eight issues of Batman and three of World’s Finest. But we’ll cover the story in a moment.

The cover here is fine. A solid Batman action scene with Robin cheering him on. We’ve got an actual background, which us always nice, and the posing is pretty solid. Overall, not a bad cover, definitely would make me excited to pick up the issue were I a kid at the store.

Inside the issue, the art is similarly solid. Between good restoration work and great inks by Robinson, it’s on the better end of thr Kane spectrum.

Despite featuring a different writer, this issue is a direct follow-up to the previous. It features Penguin on the run and enacting a new scheme that will lead the Dynamic Duo on a merry chase around the country. Kind of funny that in both the pages of Batman and Detective, the Caped Crusaders’ greatest foes would embark on interstae schemes. I guess everyone at the Batman office wanted a vacation…

Overall, this is a solid Penguin story, with decent art, but it’s not as necessary as his first appearance.

Detective Comics #58

Detective Comics #58, cover date December 1941, features the same creative team as the last issue, except that Jerry Robinson is the sole cover artist. As such, this cover is quite good. The faces are vastly improved from Detective #57’s cover, and motion is conveyed a lot better here. An odd highlight, but I absolutely love how Batman’s foot has hit and sunk under the surface of the water. The heightened seaspray perfectly shows how frantic this scene is. Great stuff from Robinson, I wish he became a solo Batman artist earlier. But, alas, we’ve got a ways to go before Bob Kane’s penciler streak ends.

Fortunately, Kane’s pencils are solid this issue, and Robinsons’s inks help make for a perfectly fine visual experience. The true joy of this issue comes not from the art, however, but rather the story, as Bill Finger introduces us to the nefarious Penguin! The Penguin’s first appearance is a fascinating one. He doesn’t yet possess his love of birds (instead being much more of a literature snob), and his umbrellas are much less gimmicky, each being either a deadly weapon of some sort or a hollow tube used to hide stolen property. Penguin’s main attribute here is his intelligence – he easily ascends the Gotham mob, then drives a wedge between the GCPD and the Dynamic Duo, and only fails to kill Batman because he wishes to frame him for various crimes. It’s a wonderful introduction for the character, his voice is so clearly defined from the get-go, it’s so easy to imagine Paul Williams reading these lines. A great issue, an absolute must-read.