What If a Bat and a Cat Had a Kid? DC Super-Stars 17

DC Super-Stars #17 (Nov.-Dec. 1977)
"Secret Origins of the Super-Heroes"
Huntress Story --
"From Each Ending... A Beginning!"
Paul Levitz-Joe Staton/Bob Layton

Doug: Back on February 13 I told you that this cover made me buy this book. As many of you agreed, and since I have the trade paperback Huntress: Darknight Daughter (J.A. Morris reviewed the entire trade on his Bronze Age Reprints blog on March 14) we'll take a look at the cover story, a 13-page visit to Earth-2 and the Golden Age Batman and Catwoman. DC Super-Stars #17 landed right in the thick of my love affair with the revival of the Justice Society of America within the pages of All-Star Comics (All-Star Comics #69 [Dec 1977] gets equal billing as the debut of the Huntress). Like many here, the concept of legacy heroes was fascinating to me -- that the Invaders had preceded the modern Marvel Universe was as enticing as the notion at DC that Earth-2 had a heroic history that pre-dated "our" Earth's by close to 20 years. And the Super Squad of Power Girl, the Star-Spangled Kid, and Robin gave a kid like me an opportunity to further appreciate the classic heroes of DC's WWII era. Now the Huntress would be a part of that -- yes, the offspring of the Golden Age Batman and Catwoman. Gives me pause...

100-Word Review: On Earth-2 in 1955, Bruce Wayne married a reformed Catwoman – Selina Kyle. Two years later their daughter Helena was born. Helena grew to be as smart and skilled as her famous parents. But one day in 1976 Selina answered a call that would change all their lives. A former henchman blackmailed Selina into becoming Catwoman for one more job. But a stray bullet and the appearance of the Batman destroyed the Wayne family’s world as Selina plunged to her death. Shortly, a new bat-like figure exacted revenge for her death – the Huntress would protect Gotham from its criminal element!

The Good: About a gazillion things, really. Where to start? Joe Staton's art - go! Staton's art is perfect for these stories that have a "yesterday" feel to them. I've always felt that on the All-Star material. Sure, he was a nice fit on Green Lantern, but for some reason I like him better on the Earth-2 stuff. There's a certain quirky charm to his figures, and his facial expressions are top shelf. Staton made good use of montage panels/pages for effect. His camera angles constantly shift, keeping the reader on alert - no easy way out in his panel work. Paul Levitz's story is a somewhat typical "Got it all/Lose it all/Exact revenge" tragedy. However, because I felt already fully-invested in the character due to her relationship to the Batman, Levitz was able to tug at my heartstrings. Of course, also being a fan of Batgirl, it was exciting to immediately see those possibilities for Earth-2, as well as a a potential set-up of a "next generation World's Finest" team of Power Girl and the Huntress. What's more, I'm really feeling many of these thoughts now as I did when I was 11 and read this for the first time. While it's not an original concept, it's execution and subsequent roll-out (until the Crisis, that is) made for some fun.

The Bad: I really only have one complaint with the story, and it involves a general complaint many of us have had with the way the Batman has been depicted on film since the Burton/Keaton film back in 1989 -- I am speaking of the voice. The gravelly voice.  In the climax of this story, as Helena Wayne has adopted the Huntress identity, she sets off after Silky Cernak. Cernak had been a member of the Catwoman's gang who went to the Big House when Selina Kyle went straight. Now out, Cernak was the one who contacted Selina Wayne about doing one more job -- or he'd make it known that she had indeed killed a man, something she'd sworn to the parole board and to Bruce Wayne. Obviously, the blackmail worked, as it got Selina back into the Catwoman costume, where she eventually met her tragic end -- from a ricocheted bullet fired by what appeared to be Cernak's gun. 

Later, after tracking Cernak to the Gotham docks, the Huntress appeared to him from the shadows. Cernak sits, waiting for a meeting he won't have -- of course he's talking to himself. He says, "I was just mindin' my own business, tryin' to make a buck!" From the shadows, a gravel-voiced shadow says, "Crime is no man's business, Cernak!" Cernak is ensnared in a rope, and turning sees a silhouette of the Batman. In fact, he even calls to the shadow, "Batman -- you again!" Now I have to wonder why Levitz went this route? Sure, the Huntress costume with its pointed mask and scalloped cape resembles the look of the Batman. But even given that, I'm drawn instead to what young Bruce Wayne said to himself many years earlier:  "Criminals are a superstitious cowardly lot, so my disguise must be able to strike terror into their hearts. I must be a creature of the night, black, terrible..." Well, if criminals are indeed superstitious wouldn't it have been better to have addressed Cernak in her own voice? Wouldn't there have been a chance that Cernak would have heard the voice of the now-dead Catwoman? Talk about instilling terror! But that's a very minor flaw in the overall story. It's just one of those "I'd have done it this way" sorts of things.

The Ugly: You get a big, fat N/A here, kids.

The trade I've used for reading and scanning retails for $20. Of course, we living here in the golden age of reprints know we can find discounted or used copies on the cheap. While this volume does not contain any of the All-Star Comics material (those are available in two trades and are also highly recommended), it does feature the Huntress's appearances from Batman Family and as a back-up feature in Wonder Woman. So feel confident that you'd be investing in some nostalgic time well spent! I would give one caution, however: Joe Staton's pencils can look very different when under the influence of various inkers. The first four stories were all inked by Bob Layton (as here); after that the art ebbs and flows, and is directly related to the embellishment. Ah, the Bronze Age and its inconsistencies...

This Cover Made Me Buy This Comic Book

DC Super-Stars #17 (Nov-Dec 1977)
Cover by Joe Staton and Bob Layton

Doug: Way too many words and the logo is too big! But a giant square-bound DC with these three "secret origins"? Take my money!

Guest 100-Word Reviews - Four DC anniversary books, Favorites Then and Now

  

Doug: Edo Bosnar is a good sport, and one not to be deterred by my silly word games. Just when we all thought (did anyone still really care?) the 100-Word Review had gone to blog heaven, Edo stepped up to the plate and performed not one, but FOUR 100-Word Reviews on some books of his choice. Thanks, friend! Onward...

Edo Bosnar: For a while, in the early 1980s, DC really put out all the stops for their various anniversary issues. The last three reviewed here in particular are really nicely packaged, with engaging stories and a number of artists, and absolutely no advertisements. They really were special issues in every sense of the word. I also included a personal favorite from 1978:

Showcase #100 (May 1978) 

Writers: Paul Kupperberg and Paul Levitz

Art: Joe Staton

Think of this as a dry run for Crisis on Infinite Earths. The intention was to have every character who ever appeared in Showcase to make an appearance in this issue, if only for a single panel. They all get together to deal with a menace that is apparently ripping apart the fabric of time itself (which is why the historical, .e.g. Bat Lash or Anthro, and futuristic heroes, like Space Ranger, appear). It gets a bit silly at places, but it’s still an engaging story with a satisfying conclusion – in which two unlikely, non-powered heroines basically save the day.

Detective Comics #500 (March 1981) 

Writers: Alan Brennert, Len Wein, Mike Barr, Walter Gibson, Paul Levitz and Cary Bates

Artists: Dick Giordano, Jim Aparo, Walt Simonson, Jose Luis Garcia-Lopez, Tom Yeates, Joe Kubert Carmine Infantino and Bob Smith

While the focus is obviously on Batman in the seven stories included in this book, there’s one each featuring Elongated Man, Hawkman (who had back-up stories in Detective in the 1970s) and Slam Bradley, who debuted in Detective’s first issue and continued to appear in it until almost 1950. The latter story also has guest appearances by a number of back-up characters like Captain Compass, the unfortunately named Pow Wow Smith (yes, he’s Native American) and Christopher Chance. A special treat is a Batman prose story in the middle written by Walter Gibson, creator of pulp action hero The Shadow.

Justice League of America #200 (March 1982)

Writer: Gerry Conway

Art: George Perez, Brett Breeding, Pat Broderick, Terry Austin, Jim Aparo, Dick Giordano, Gil Kane, Carmine Infantino, Frank Giacoia, Brian Bolland, Joe Kubert

This is just so much awesome between the spectacular wraparound cover by Perez. The would-be alien conquerors from the JLA origin story are back: they take mental control of the founding members, who seek out the meteors in which the aliens originally arrived, now hidden all over the world, so they can resume their diabolical plan. The newer members go out to stop them, with each confrontation drawn by a different artist/artists. The original JLAers always manage to  prevail, but they come to their senses eventually, and ultimately the days is saved through superior teamwork between members old and new.

Superman #400 (October 1984)(cover by Howard Chaykin)

Writer: Elliot S! Maggin

Art: Joe Orlando, Al Williamson, Frank Miller, Marshall Rogers, Terry Austin, Wendy Pini, Michael Kaluta, Kelly Adler, Klaus Jansen, and Jim Steranko

Also included: An introductory text piece by Ray Bradbury, and tribute pin-ups by a number of other notable artists, including Wil Eisner, Mad Magazine’s Jack Davis, Leonard Starr (of Little Orphan Annie fame) and Moebius

Under the title “The Living Legends of Superman,” this one consists of a number of brief stories set in the future (sometimes in alternate realities) that examine what Superman has come to mean to human society. This is essentially Maggin’s love letter to his favorite character, but it never gets sappy or overly sentimental. The sections drawn by Kaluta and Pini are particularly interesting, since neither of them normally drew superhero stories. The last section, written and illustrated by Steranko, examines the progress of the illustrious Superman lineage into the far future and, well, up to the end of time.

Bruce and Selina -- A Love Story: Brave and the Bold 197

The Brave and the Bold #197 (April 1983)
"The Autobiography of Bruce Wayne"
Alan Brennert-Joe Staton/George Freeman

Doug: Here's a book that's long been mentioned by our friend Edo Bosnar. I didn't even realize that I had it until I checked the Comic Book Database one day and found that it was reprinted in the pages of The Greatest Batman Stories Ever Told hardcover (c. 1988). So, since I a) have this,  b) dig the Earth-2 versions of Batman and Robin, et al., and c) it's illustrated by Joe Staton, why don't we have a look at the plot and then a discussion?

Doug: Our story is narrated by the protagonist, one Bruce Wayne. But this is a more mature (dare I say Dark Knight Returns-aged?) Wayne, one setting about writing his memoirs. He remarks that he's already written about his origins in Crime Alley, his taking of young Dick Grayson as a partner, and of his camaradarie with the Justice Society of America. Yep, this is the Earth-2 Batman, and the time is the mid-1950s in the U.S.A. and this is a love story. To some extent it's a story about forbidden fruit, redemption, personal demons, and loss. There's a lot going on here!

Doug: We open with a shot of Commissioner James Gordon, now elderly but still in charge of the Gotham City P.D. Wayne muses to himself that he thinks that to some extent he's been Gordon's alter ego -- the adventurer Gordon always wished he could be. Gordon cradles a small green box as he reaches the rooftop from where the Bat-Signal shines. But as the Caped Crusader approaches, he's suddenly obliterated by automatic gunfire! Or was he? Batman lands on the roof, healthy as a horse, and asks Gordon what he has in the box. Batman reaches for it, and remarks that he's pretty sure he already knows what is going on from the residual odor on the roof. A toxin was introduced to Gordon, one that played on his darkest fear -- a world without a Batman. Batman opens the box to reveal a smouldering scarecrow doll. He takes the box and heads to the Batcave for analysis.

Doug: On the way, the Batman thinks about how busy he's been lately, corralling the Joker, Penguin, and Two-Face -- all paroled (say what??) or escaped. And now Professor Crane. He thinks that things were simpler when there were more heroes; now it's just Superman, Wonder Woman, and the "Bat-family" -- he, Robin, and Batwoman. He also thinks about how many of his colleagues have settled down: Clark and Lois, Jay and Joan... and how he's on his way to attend a wedding of an old flame. Once at the wedding, Bruce Wayne greets Linda Page, and they exchange a friendly embrace. They have conversation, and Linda asks Bruce how he'd like to be remembered. She hammers on him a bit about his playboy image, and if that's really the legacy he wishes to leave. We get inside Bruce's head, as he reflects on the creation of that side of his persona, and why it stuck. But as he genuflects, we also see that what really worries him is the fear of being alone -- he wonders what will happen when Alfred retires or passes on, of Dick when he graduates from college and moves away. And that scares Bruce Wayne.

Doug: At the wedding ceremony the guests are suddenly beset with all manner of beasties -- spiders, snakes, and other creepy-crawlies. The Scarecrow makes an appearance, but he didn't bargain on Bruce Wayne, Dick Grayson, and Kathy Kane being on the guest list. They all change into their fightin' togs and engage the psychological criminal. But of course Crane has a trick or two up his sleeve, and launches a smoke grenade that goes off right in Batman's face. Batman then sees Robin vanish into thin air. Frantic, he turns to Batwoman for help. She insists that Robin is standing right next to her, but then the Batman sees her vanish as well! Distraught, the Dark Knight flees the scene to seek assistance. But a short time later a call to the Kent household yields nothing. Desperate, he thinks of anyone available who could help him bring down Crane and find his missing partners. Of course, no one is really missing -- it's all the effect of Crane's mind-bending hallucinogens. But Batman settles on one person who could aid him, a former enemy: Catwoman.

Doug: Batman pays a visit to the state pen., where he gets an audience with Selina Kyle. Allegedly she'd suffered from amnesia for a decade, which made her forget her life as the Catwoman. But the Batman was desperate, and even brought the Catwoman costume with him. Selina begrudgingly said she'd help Batman; he'd even offered her the opportunity to be paroled. So off they sped in the Batmobile, on their way to Gotham University to engage Crane. But on their way into the library, the massive concrete lions come to life! The Scarecrow had painted them to resemble stone, then drugged then until they were awakened by a shock collar. Catwoman took exception to that tactic, and was now fully invested in this mission. The pair see a real scarecrow on a rooftop -- a sign from Crane to follow. Selina makes a comment here and there that leads Batman to think that her amnesia claim was bogus. But he swallows it for the sake of finding Crane and his partners.

Doug: Batman's leery of Selina's seeming returned memories -- can he trust her? She thinks that she likes being back in action, but worries that Batman is too obsessed on this case, that he might be erratic. Meeting up in the Great Hall, the find a tape recording from Crane that then plays on several phobias people have. Our pair fights through dangers from fake comets, lightning, and fire. In fact, Batman takes a flaming bolt fired from a crossbow and intended for Catwoman. She is able to destroy the weapon, and then get him to the campus infirmary. There she treats his wound, which requires the removal of his cape and cowl, and of his shirt. Catwoman is shocked when she sees the scars and markings on Batman's back. "Occupational hazard. Fifteen years of fighting will do that to a person." Selina shows genuine concern for her new partner, and then begins to probe his motivations. And Batman tells all -- what happened to him as a child, why he began his crimefighting career. He says to himself that he doesn't know why he answered, but he did.

Doug: We cut to the Scarecrow, firing smoke grenades around campus. He thinks to himself how he's already played on Batman's subconscious fears. These new gasses will play on his most overt phobias, and since they have a staying power in the air, the Dark Knight will be bound to encounter something. Selina tries to reason with Batman as they swing away from the Great Hall. Batman had told her about Gordon's reaction to the box; Selina asks if perhaps Batman's missing partners couldn't also be a figment of his imagination, an illusion. But Batman closes the door on that conversation immediately, and firmly. Selina feels that she's being drawn in to a dark place with this man. As they swing along, suddenly they move through some of the chemicals Crane had left. Selina encounters a fear of heights, Batman of the darkness, and then both of them a fear of open spaces. I'll tell you, if there's one thing I learned from Alan Brennert's script it was all of the different phobias that people have! Dude must have just cracked open an abnormal psychology book and let 'er rip!

Doug: In the library to collect their wits, Selina slips again and Batman knows that she'd lied to him about her amnesia. Nope -- she became the Catwoman on purpose and knew the entire time what she was doing. Selina narrates her story, of a young woman who married a rich but abusive man. Her revenge was to rob him of the only thing he cared about -- his wealth. But the high she got from that stuck, and so did began her criminal ways. She claimed that Selina Kyle faded away and Catwoman became her true identity; Batman concurred, that he lost the person he once had been as well. Then Batman said he didn't know how to get out. Selina turned to him and said, "Don't you?" They embraced. But Batman broke away, and said they needed to find his partners first. Going back outside, they spied another scarecrow. Batman mistook it for the real Crane, and swung up to it. Finding that it was merely another ruse, Batman let his anger and frustration out on the dummy. Selina tried to bring him back, but Batman was suddenly afflicted with ailurophobia - a fear of cats! Shrinking away from Catwoman, he got to the precipice when Selina talked him down. She pleaded with him to let go of his demons, but then he lost control again and began to see her do a fade-out, as Robin and Kathy had done before. Selina knew there was only one way to break this.

Doug: Catwoman removed her mask, releasing the cat. She asked Batman to do the same. He stood and stared. He knew what he should do, but a lifetime of living behind the mask, behind the training, prohibited him. And then he gave in. Batman pulled back his cowl (well, actually it was pretty clumsily drawn, as if he removed a mask) to reveal Bruce Wayne. Selina didn't seem surprised, and the two embraced. Crane's hold on the two of them broken, they kissed and allowed the feelings of years gone by manifest themselves. Later, Batman captured the Scarecrow and dealt with the irrationalities of Crane's hold on him during that adventure. Bruce and Selina married and enjoyed 20 years together -- a fine life. While no mention was made of Helena Wayne, the Huntress, the story had a fitting conclusion with Bruce recalling Selina's life rather than her death, and in hoping that his life would be remembered so well, as well.

Doug: I loved Earth-2. I loved Joe Staton's art on the All-Star Comics revival, and the Huntress. These are treasured stories from the Bronze Age, and although this one was published only a couple of years before the multiple Earths idea came crashing down, it's sort of a fitting ending to those times. Brennert's script is very good, and it's obvious that he "gets" Batman, what makes him tick, and has a fondness for the Batman Family. And Joe Staton -- what a great job of melding his own style to an homage to the 1950s art of Dick Sprang. The faces he drew for Batman were just perfect, as was his rendition of Robin. And I always enjoy Selina in her Golden Age costume the best. This was a nice way to spend 20-25 minutes, and I'm glad I'd been encouraged to read it and actually had it so that I could follow through!

Face-Off: Earth-2's World's Finest Legacies

Doug:  Yesterday we took a look at the first appearance of Power Girl, Earth-2's version of Supergirl.  Today's question is pretty simple -- who did you like better in the Bronze Age:  Power Girl or the Huntress?  And, if you are so knowledgeable, you can fill some of us in on their exploits in modern over-priced and poorly drawn comic books.