The topic of today’s post is, I believe, one of the most important single comic books in the evolution of Batman to appear during the character’s nearly eighty-year history — probably ranking in the top five or so such comics. Chronologically speaking, it’s certainly the most important Batman comic that DC Comics had published since 1964’s Detective Comics #327, the issue in which editor Julius Schwartz and artist Carmine Infantino debuted a “New Look” for the Caped Crusader — and I think that a strong case can be made that there wouldn’t be another single Bat-book quite so significant until the publication of the first installment of Frank Miller’s Batman: The Dark Knight, in 1986.
That’s because “The Track of the Hook”, written by Bob Haney and illustrated by Neal Adams, serves as the clearest point of origin for the most thorough overhaul ever of one of comics’ most iconic heroes — an overhaul that has often been called a return to the character’s original 1939 roots, but is probably more accurately viewed as an approach based on what comics writer Denny O’Neil once described as “remembering how we thought it should have been” [emphasis mine]. It was an approach which returned an air of mystery, a touch of noir, to Batman and his milieu — one which did indeed recover visual and thematic elements that had been present, or at least implicit, in the character’s earliest published adventures, but which explored and elaborated on those elements in a more sophisticated fashion than readers had ever seen before. And it all started with Brave and the Bold #79, and the art of Neal Adams. Read More
If you’ve been reading this blog for a few months or more, you’ll recall (I hope) our post back in June about Superman #199, the classic DC comic book that featured the first-ever race between Superman and the Flash. That race ended in a tie, but the end of the story promised us readers a “terrific rematch, coming soon in The Flash!” So when the DC house ads for Flash #175 began appearing a few months later, my ten-year-old self was pumped. Surely, when the second race was run in the Fastest Man Alive’s own series, he’d win the victory that he so obviously and logically deserved (in my mind, anyway. See that earlier post for more details of my reasoning). And regardless of the outcome, with Carmine Infantino (the artist who’d pencilled every single Flash solo story I’d ever read) drawing the book, it was bound to look great.
Well. Things didn’t quite work out as my ten-year-old self expected. Read More
Once upon a time, in the long-distant, antediluvian past, comic books were a lot like movies, or television shows. You caught them when they first came out (or on), or you were out of luck. Eventually, as we all know, the advent of consumer videotape technology changed everything for TV and film. Similarly, the gradual development of the comics collectors’ market ultimately made it economically feasible to reprint old, ephemeral newsprint periodicals in brand new, designed-to-last, real-book editions, and then to keep them in print for, if not ever, then a lot longer than a month or two. These days, in fact, you can even download a digital copy of a fifty-year-old comic book for less than the cost of a new one. (What a world we live in. You kids today, you just don’t know.) Read More