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Comics You Should Own flashback – Detective #569-574

Such a great run, and so short-lived! Consarnit!!!!!

How about that old-school logo! Oh, Joker, you're so happy! Scarecrow would be a lot scarier if he were that big!

Detective Comics by Mike W. Barr (writer), Alan Davis (penciller), Terry Beatty (penciller, issue #572), Carmine Infantino (penciller, issue #572), E. R. Cruz (artist, issue #572), Paul Neary (inker), Dick Giordano (inker, issue #572), Al Vey (inker, issue #572), Adrienne Roy (colorist), John Workman (letterer, issues #569-572), Todd Klein (letterer, issue #572), Romeo Francisco (letterer, issue #572), and Richard Starkings (letterer, issue #573).

DC, 6 issues (#569-574), cover dated December 1986 – May 1987.

It's Kaluta-riffic! That's another great cover! So gloomy!!!!

Look upon the first cover of the Barr/Davis/Neary Detective Comics. Batman is in the forefront, glaring back angrily at the Joker, who holds an unconscious Catwoman in his arms. Batman kneels over Robin, who is wrapped in something sticky and gazing wide-eyed at the reader, obviously in some distress. Robin and Batman crouch on one playing card, while the Joker stands on another. Several Joker cards swirl around them. The sheer genius of this cover is breathtaking, and it signals the absolute thrilling issues that are to come, certainly some of the best Batman comics of the past 35 years.

My love for Alan Davis should be well-known by now, and I have written about a Mike W. Barr-penned book in this column as well. The fact that both of them (ably abetted by Neary’s marvelous inks) were linked on Detective is a wonderful moment of comics synergy, and the fact that Davis left the book somewhat prematurely is a shame. They worked on only seven issues together, but they created comics that we can still read and love, for the sheer joy of the medium. (Issue #575 was their last collaboration, but as it was the first part of “Year Two” and that story is only intermittently decent, it doesn’t get a mention here.) Barr, like Steve Englehart in my last column, understood that even though Batman’s past can be goofy, there was no reason a smart writer couldn’t incorporate it into a modern, more gritty tale of our favorite Dark Knight.

Barr throws Batman and Catwoman right into the wringer. These issues were coming on the heels of Doug Moench’s first run at Batman, one in which he wrote both titles for a few years and turned Batman into a long-running soap opera, with plenty of love interests (from Nocturna to Julia Pennyworth to Vicki Vale and finally Selina) and a lot of crossing over between the two books. Denny O’Neil must have had enough of this, because he brought on Barr and Davis to revamp Detective while allowing Frank Miller to tear down Batman and rebuild his origin in “Year One,” which came out about the same time as this. “Year One” gets all the press, but what Barr and Davis did with Batman is much more entertaining. In issues #569-570, Barr takes Selina and turns her back into a villain. The Joker steals a catscan machine, and the evil Dr. Moon recalibrates it so that it, in his words, “enable[s] one to ‘reprogram’ a patient’s mind, if you will, as though it were a computer.” That dastardly Dr. Moon! No hero would ever do something like that! [Edit: Obviously, I wrote this around the time Identity Crisis came out.]

The plan works, of course, and Selina goes back to being the villain we all know and love. I’m not terribly sure if the story was ordered by DC editorial mandate or if Barr himself was sick of Selina making goo-goo eyes with Bruce, but the story works well because the Joker is nicely maniacal and Selina is done well, both as a good girl and a bad one. Barr understands that even when she was good, there was still a lot about her that was evil (much like cats themselves, actually), and of course, Davis drawing her helps immensely. This is a nice use of the Joker, too, because he doesn’t actually kill anyone, and he has an evil plan that doesn’t involve slaughtering hundreds of people. He just wants Selina back to being evil, and he succeeds – even though he does get captured in the end after contributing to a happy ending, which depresses him to no end.

With just two issues, Barr showed that he understood the characters he was writing and that he was easily able to make them in turns light-hearted and gritty. Batman isn’t a lonely avenger of justice who is more than a little obsessed. Barr gives us one of the funniest Batman jokes ever: When the Dynamic Duo finds out that the Joker is planning on robbing the public library, Robin says “Holy Gutenberg! Let’s go!” Batman stops him and, very sternly, says “Never do that again!” Robin is suitably perplexed, but the readers are laughing at the nod toward the old television show. Barr shows us that Batman cares very much about Selina and even more about Jason. When Jason is trapped in the Chinese finger torture goop that we see on the cover of issue #569, Batman must figure out how to get out of it while ignoring the pleas of Jason at his side. Later, when Jason is shot by the Mad Hatter, Batman is almost overcome with grief, and this leads to issue #574, which tweaks Batman’s origin slightly but also shows us how much he cares for Jason. Barr does very well with Jason as well, giving us a young boy who doesn’t quite know how to be Robin but throws himself into the action with abandon and enthusiasm. He’s very naïve, as twelve-year-olds are, but Batman guides him through the perils of Gotham City like a father. In a wonderful scene at the beginning of issue #570, Batman leaves Robin in the front of a bar while he speaks to someone in the back. Robin orders milk, and a hooker, Rhonda, backs him up by ordering one herself. Later, Robin asks Batman if Rhonda is a … and before he can voice the word, Batman says, “She’s a lady, chum.” Yes, he calls Jason “chum.” It’s nice exchanges like this that show us the connection between Batman and Robin and why they can be a great team in the hands of a good writer.

This brief run is steeped in the Silver Age, but Barr, like Englehart before him, understood how to bring these concepts into the modern age without making them silly and while still telling gripping stories with more weight than those of the 1950s. The Joker is gleefully insane, while his favorite henchman dresses like a clown in one scene and Rambo in another. Even though Straight Line (the henchman) is also nuts, he is as devilish as the Joker. Dr. Moon uses a classic Silver Age scheme to “change Selina’s mind,” but it’s tinged with a modern creepiness and subtext – this is an almost sexual violation of Selina, and although Barr doesn’t come out and call it rape, we can easily make the connection. The Scarecrow, who is wonderfully twisted in issue #571, comes up with a chemical that removes fear from the brain, and he uses it on Batman and sends him through an elaborate death trap, much like villains did in the 1950s. Finally, the Mad Hatter continues to use hat themes in his crimes, but in an inventive way, and we get a much weirder and deadlier Jervis Tetch than we’ve seen before. [Edit: I guess this is the “imposter” Mad Hatter, not the real one, but for the purposes of this story it matters not a whit.] In issue #570, Batman punches out a bodyguard by telling him first that his shoelaces are untied, but when that doesn’t work, Bats says that his own shoelaces are untied, which works. In the same issue, the Joker has set up shop in a novelties factory, which allows Robin to kick huge billiard balls around at the bad guys. All of these touches are distinctly Silver Age, but Barr has updated them wonderfully and inserts them easily into the story.

However, because it’s the 1980s Batman, everything is not all cheery. Selina becomes a bad guy, Batman beats the Joker severely because of it, the Mad Hatter shoots Robin, and Leslie Tompkins berates Bruce while Jason is fighting for his life. The Scarecrow story is particularly interesting because Crane kidnaps Jason and makes Batman run through his death trap without any common sense. Batman, however, overcomes this by thinking of the worst fear he can conceive. He never tells Jason what it is, but as they walk away, we see a gravestone with Jason’s name on it. This is all part of Barr making Batman more of a father figure, and it segues easily into issue #574, when Leslie and Bruce debate turning Jason into Robin and why Bruce became Batman in the first place. Barr’s “new origin” doesn’t change too much, except that Bruce kept the gun that killed his parents (which is simply there so it can be important during “Year Two”) and that he could never allow Bruce Wayne to be too interested in knowledge, so he disguised himself in college. One thing it does, however, is let us know how lonely Bruce was during the years following his parents’ death, even though he had Alfred and Leslie, and how he does not want anyone to go through that. This is something we’ve always suspected about Bruce, but it’s rarely touched on. Why does he take in these kids and train them like he does? It’s not so they can avenge their parents’ deaths, it’s so Bruce can give them a “family structure” (such as it is) that he lacked. It’s a nice glimpse into Bruce’s character that we don’t often see. Usually it’s the death of his parents and the weird avenger of the night, but not much else in terms of psychological insight. Barr deepens Batman’s character with very little effort, and it adds a great deal to the story.

The homage to the Silver Age and even the Golden Age reaches its apex with issue #572, which celebrates the 50th anniversary of Detective Comics #1 from 1937. As Barr explains on the inside front cover, Batman is the most famous hero to appear in the comic, but he wasn’t always the main star. Therefore, Barr reaches back to the past and brings us Slam Bradley, who, a few years ago, enjoyed a Renaissance in the pages of Catwoman but at this time was in the dustbin of comics. Ralph Dibny shows up, which is nice, and they all join up to solve a mystery that has its roots in Sherlock Holmes – 1987 being the 100th anniversary of the first Holmes story. Holmes himself appears at the end, and although the story is slight on its own, Barr again shows us how good he is at characterization – Jason tries to show Slam that he’s worthy of Slam’s respect, and Batman is humbled when he meets Holmes. Little touches like this help humanize Batman and make his relationship with Jason even more powerful.

Although Barr’s writing is superb, Davis’s art elevate the stories to true greatness, because Davis is able to translate Barr’s scripts into a beautiful reality filled with the details that Davis is famous for. It begins with the wonderful cover to #569, which shows everything that happens in the book with great clarity while still remaining a powerful image. Davis brings back splash pages at the beginning of the books that don’t necessarily have anything to do with the story – in issue #571, he shows the Scarecrow in what appears to be an apothecary’s shop mixing all sorts of potions while Batman and Robin swoop down on him; #572 shows Batman and Robin, the Elongated Man, and Slam Bradley crouching on an open copy of the Doomsday book while Sherlock Holmes, in profile, hovers behind them; and #573 has Jervis Tetch escaping from the Dynamic Duo while he brings down hundreds of hats on top of them. These pages add just that touch of Silver Age to the stories, and because Barr is so economical in telling the story, they don’t feel like wasted pages. Davis also does wonders with the characters. These few issues have more panels of Batman smiling than probably any since O’Neil and Adams turned him back into a grim avenger. That’s not to say they are all mirthful smiles – it’s Batman, after all – but some of them are, and it’s nice to see. He smiles when he has fooled the bad guys and is about to pounce. He smiles when he sees Rhonda – this Batman has a soft spot for the prostitutes in his town. He smiles when he’s threatening Profile, who is an “information broker” in Gotham’s underworld. When Jonathan Crane doses him with the gas that takes away his common sense, he smiles as he runs through the Scarecrow’s death traps, which is the most unnerving use of his smile, because he’s not thinking clearly. Davis is brilliant at showing both the arrogance of a Batman who knows he’s the best and the joy of a Batman who is teaching a young boy how to be a man. Davis draws Jason like a twelve-year-old, too, and his Batman is muscular but not bulky, while his Joker is creepy and angular – some letters complained about his ridiculously long legs, but Davis is showing him as a contrast to Batman and it’s not meant to be too realistic. Selina, like all of Davis’ women, is beautiful and sexy, and his Scarecrow is disjointed and jerky, like a puppet with its strings cut. This is Davis’ book as much as it is Barr’s and the two have a wonderful relationship that makes these comics both action-filled, tragic, yet gloriously hopeful as well, which we don’t see too often anymore in Batman books. Even though Selina returns to the dark side, in the process a young girl in a catatonic stupor wakes up, and even though Jason gets shot by the Mad Hatter, he comes through stronger and more ready to beat up the bad guys.

Splash page! Splashiness! So many hats!

This homage to the Silver Age couldn’t last, of course, and Davis left the book (presumably to work on X-Men and Excalibur, although my dates could be off) and Barr wrote “Year Two,” about which we probably should leave well enough alone. Even though the Barr/Davis/Neary team didn’t last long, they left an indelible impression on the character. And their departure allowed DC to assign a new team to the book, one that is the subject of my next column. So it all worked out for the best. I’ve been looking around, but it does not appear that these issues have been collected in a trade paperback, which is a shame [Edit: Yes, this continues DC’s horrible policy about not reprinting 1980s and early 1990s comics because of reprint rights and such. Sweet Fancy Moses, they’re cheap!]. Dig through the long boxes next time you’re wondering if there are any good Batman books out there that you might have missed!

Will the archives’ reconstruction be completed soon? I think they just might be!

39 Comments

Elongated Man———–!

That is all.

Mike Barr and Alan Davis revisited this era in a really nice short back-up story (in GORGEOUS black & white art) in the Gotham Knights book a few years ago.

One of the all-time great Batman runs. “Fear for Sale” is one of the best uses of Scarecrow I’ve see and the Batman/Elongated Man/Sherlock Holmes team up was priceless.

It’s a damn shame that DC hasn’t ever collected those issues.

Isn’t it crazy how good Paul Neary is as an inker, but how terrible he is as a penciler? (That is, when he’s not inking his own pencils — i.e. most of his run on Mark Gruenwald’s Captain America)

Jeremy A. Patterson

July 6, 2010 at 5:11 pm

It does look like the imposter Hatter due to the mustache!

J.A.P.

Really enjoyable run with great use of Scarecrow, the Joker and the Mad Hatter. It brought campy 60s Batman and gritty 80s batman together effortlessly.

The run wasn’t collected as a whole, but the Scarecrow story is in the Eighties stories collection, and I’m pretty sure “My Beginning….” turns up in the recent Greatest Stories Ever Told collection.

My favorite moment is in that first Joker issue where Robin says some corny ass 60s Adam West Batman phrase(“Holy hotdogs!” or something like that), and Batman stops him, and said “Don’t ever say that again” “…Ok, Batman”

It was like, “Yeah, we’re kicking it old school, but not THAT old school”

Great comics, indeed. But where I really fell in love with Davis’s artwork was also when he teamed with Barr on The Outsiders (actually I think it was still Batman and the Outsiders). With such varied characters as Katana, Metamorpho and Halo to draw, he really got to go wild. Also: The introduction of Looker! What a crazy-fun story that was. In my memory, at least. Have you read those comics, Greg?

It should be telling that some of DC’s best comics were produced at a time where creators could expect to be fairly compensated for their work.

What is so different about compensation then and now? Sorry about my lack of knowledge on this matter…

This was a fantastic run. It is very close Englehart-Rogers both in terms of quality and tone. Barr-Davis were a fantastic team. I have never fully forgiven Marvel for splitting them up.

Also, Batman’s smile is terrifying. As it should be, I guess.

Yes, I’ve long enjoyed this run.

Of course, Alan Davis anything is worth having, except maybe that last Killraven mini…

I liked this run… but I loved Barr and Davis on Batman and the Outsiders way more. Man they were unstoppable then. It was supposed to be this fill-in-the-gap year for the newsstand BATO book while Jim Aparo did the Baxter Outsiders book, but for me it’s a year and a bit of some of the best super-team book action ever.

In Legends, which has been collected, Batman catches Joker and says something like “I should kill you for what you did to Selina”– an establishing shot that shows where Legends falls in the regular series’ timeline. But of course that looks continuity-wacky in retrospect. Legends is supposed to be firmly in post-Crisis continuity… but Year One (as you note, coming out at the same time) had spillover effects that eventually reset Catwoman’s history such that the Batman-Catwoman relationship that ended here never happened in the first place.

I think Alan Davis’ art has suffered hugely from modern coloring and inking techniques. In the panels you’ve included here, the hard lines of the old printing style helps define his soft and loose pencils. His modern stuff always looks too doughy to me, but looking at this, I’m starting to understand how he got his reputation.

Rebis: I’ve read the Davis Outsiders stuff, but not for a while. I’ll re-read it when I get to “O” in my journey through my long boxes. I remember liking it (especially because it featured Looker!), but contrary to Mr. Burk, I can’t say it was better than this brief run. But we’ll see – I’ve read these more often and more recently, so maybe my opinion will change.

Ricardo: Brian can explain it far better than I can, but from what I know, the creators in the late Eighties/early Nineties got paid for collecting the books even if they didn’t own the characters and were work-for-hire. So DC simply didn’t collect and still resists collecting a lot of stuff from that time. If anyone can be more specific, please jump right in and expand on that or even correct me if I’m completely wrong.

Dan: That’s a good point. I still love his stuff, but it is much smoother than his old work, probably due to digital inking and coloring techniques. If you go even further back to his Captain Britain days, it’s even more pronounced.

Matt Lazorwitz

July 7, 2010 at 4:11 am

This is my favorite run on Detective. I understand the historical improtance of Englehart/Rogers, but these stories are so great, the art is stellar, and they’re just fun. The final issue, “My Beginning… and Probable End…” is one of my personal top ten Batman stories and the story that defines Leslie Thompkins for me. Thank you, Greg, for featuring this run that I feel is all too often forgotten

Great run!

Omar Karindu, with the power of SUPER-hypocrisy!

July 7, 2010 at 6:54 am

“Fear for Sale” was wonderfully adapted for the “Batman: Gotham Knights” animated series; many people think that it’s one of the few times the Timm-produced series got the Scarecrow pitch-perfect.

PATRICK RAWLEY

July 7, 2010 at 8:49 am

Batman also threatens Profile (obliquely) with rape. (Not the Batman’s gonna do it but “you know what happens upstate … you’d be a very popular fellow “- kind of thing). And he breaks a shotglass with two fingers. Magic.

I loved this run and still dig it out now and again. Those splash pages were a nod to the days when comics had splash pages that weren’t gratuitous filler but acted as a frontspiece for the tale you were about to read. The giant props, Robin …. just Robin, ah it was magic. Hard to believe fans voted to kill Robin not much after this.

DC, Collect this now! And what the heck ever happened to Barr?

this story line showed that batman is not so cold feeling after all and his true reason for having a robin is for the family connection he lost. though also found it creepy when catwoman got brain washed to be bad plus the scarecrow in the story line showed why he is as nasty as the joker. too bad dc can not figure out a way to put this story in trade for it is one deserving of the treatment

Pete Woodhouse

July 8, 2010 at 12:37 pm

Yes I’d too like to know what happened to Barr. To me he seemed to fall off the radar from the 90s onwards.
Ditto DC’s reprint policy, it’s been mentioned in these forums before. What was so unique/so expensive about that period? What Greg says is right I think, but more detail, please, someone…
P.

I think Barr did a great job of showing Robin to be a competent crime-fighter and kick-ass fighter, but still just a kid. If you think about it for more than ten seconds, kid sidekicks are the stupidest idea in comics history, but Barr made it work.

Also: giant-sized props!

And as much as love Catwoman as the star of her own comic, I really miss the good guy/bad girl romance angle between her and the Batman. It was one of my very favorite things about Batman comics. And The Spirit comics too.

[…] Comics You Should Own flashback – Detective #569-574 […]

Barr is writing a lot for Bongo at the moment.

What temperature should my central air conditioner be putting out of my vents?…

Sweet……

I’ve actually been missing a couple of issues from this run for a long time now, but I love the issues I have. #574 is one of my all-time favorite comic stories ever. This run NEEDS to be collected.

I had been looking for these issues for a while, and finally got issues 571 & 573 this week. (It’s not that the issues are particularly hard to find, but they’re hard to find for under $5, and I have a pretty concrete rule that I don’t pay more than $2 for a back issue under any circumstances unless it’s worth over $15. Usually I don’t even like paying over $1 for back issues.)

Anyway, I read those two issues tonight, and I was surprised by how much they did nothing for me. I think knowing they came out in 1987 is what ruins them for me, as I expect comics from the late 80s to have a level of maturity and sophistication that I simply didn’t find in these two issues. If the comics were from 1977 I probably would have really liked them.

But what’s here struck me as everything that Batman wasn’t supposed to be anymore post-Crisis. It’s campy, harmless, the villains are colorful and stupid. Of course Davis’ art is superb as always, but even there I think it’s too happy for its own good.

Though, to be fair, what might have ruined the issues for me was that page 5 of #571 has the single most egregious ambiguously gay Batman & Robin moment I’ve ever seen. In the second panel, Batman gives Robin a fire hose and says “Good Boy! Hose me down now! That’s it, good and wet…” I mean… yeah. There was just no way I could seriously get into the story after that.

It’s pretty difficult to look at these issues and think that they were running concurrently to Year One, and that the Arkham Asylum graphic novel came out just a year or two later. The Batman here is distinctly not the Batman in those stories, and that’s the Batman I prefer. I’m like the Bizarro Greg hatcher. I feel like this is the Adam West Batman, just made visually better by virtue of being drawn by Alan Davis.

I haven’t decided if I’ll still try and acquire the other 4 issues… we’ll see.

Third Man: Well, that’s certainly your prerogative, even if I disagree. I’m surprised you thought #571, in which Batman faces his deepest fear and uses it to defeat the Scarecrow, to be lacking in maturity and sophistication. I think what makes these comics so good is that they take the campy elements and make them interesting psychological problems, as Barr delves into what makes Batman tick even if it’s in different ways than Miller was doing. I don’t think post-Crisis Batman has to be dour and depressing and even a bit psychopathic, as Miller and Morrison portray him, and while I like their interpretations, I think something like this run would do really well today, after almost 30 years of Batman comics being horribly bleak. I think Barr straddles a nice line between depressing stuff (the Catwoman story, the Mad Hatter story) and the campy. But if you disagree, that’s the way it is. Sorry to steer you wrong!

Well, first off, don’t worry about steering me, as I had been looking for these issues since before I saw you wrote about them. So if you were in the process of sending me a check for $3, you can hold off. And don’t worry about ever steering me wrong. I read your stuff at least partly because I think you have good taste. If I don’t agree with it 100% of the time, that’s not likely to steer me away.

Yes, I agree that the last panel of #571 did have that nice psychological twist, but it’s hard to have an impact after 21 1/2 pages of total non-seriousness. If the other 97% of the issue had been written in the same way as that last panel, I would have liked it much better. But again, this is the same issue that had already given me the “Oh yeah, Robin, hose me down you bad boy, get me good and wet” panel, so the tone had been established so to say, and by the time the last panel tried to turn that on its head, it was too late.

And I completely agree about how dour and depressing Batman has been for the last 30 years. That’s why I generally love the Batman stories of the late 80s, is because that’s when the serious stories were still new and exciting, and hadn’t started to go overboard on the grimness yet. Ten Nights of the Beast, for example, is one of my favorite Batman stories, as I think it toes that line really well.

And I guess I had the same problem with the Mad Hatter issue: 21 1/2 pages of silliness, then Robin on the ground with a bullet in the chest on the last panel.

But I do think you should edit that “hose me down” panel into this piece. People need to see it. It’s fucking gold.

Third Man: I see what you mean, but I suppose I disagree. Oh well.

I like Ten Nights of the Beast, too. It’s pretty keen.

One of these days I’m going to go back over these old posts and fix some things. I don’t think this needs it, but I’ll have to consider sticking that panel in there. It does crack me up.

Greg: Of course, you probably know by now that these issues HAVE been collected into “Legends of the Dark Knight: Alan Davis Volume 1″ hardcover, which also includes the first chapter of Batman: Year Two, its graphic novel sequel, “Batman: Full Circle” and the Batman: Black and White story referenced in the very early comments.

I’m preparing to write my own review of the book and was doing some continuity context research, which is how I found this column now (though I’m pretty sure I read it when you first published, though at the time, I only read some of these in single issue format) Like you and others note , this is post-Crisis, but is very pre-Crisis feel, though it is concurrent with Batman: Year one and Legends. It’s the pre-Crisis Jason Todd in a post-Crisis world in that Batman limbo of 1986-1987.

If you do re-visit/re-edit this post as you said in the post above this, consider scanning the panels from the new book. It’s a great collection. I’m thrilled they include ALL of ‘Tec #572, even though it’s not all Davis art, because apparently some of these artist-focused collections aren’t so story -conscientious.

What would go in Volume 2? The Outsiders issues, I guess. Not sure why they called this Volume 1.

MrMGU: Thanks for the information. That sounds like a very cool collection – I might have to track it down.

That’s weird that they called it “volume 1,” although it’s possible they could include his Outsiders stuff in a second volume. DC has a weird habit of calling one-shots “#1,” so perhaps they just called this volume 1 for the fun of it.

I pulled the first three issues of this run to reread today and then discovered this article while looking at the ‘recent posts’ side bar! Thanks MrMGU and Mr Burgas.

This was a great run, and like Englehart and Morrison used Bat history and did a good job melding it with ‘modern’ Batman (I never liked O’Neil throwing out Batman’s history every six months). I wish the Barr Davis Neary team had lasted longer, or come back for a second run.

To me Detective Comics is the home of great Batman runs. There was this one, the first, pre-robin adventures, the 100 page era (excellent comic packages in content and quality), the Englehart Wein Rogers Austin run, Grant Wagner Breyfogle, Milligan Aparo, and honerable mentions for Rucka (both runs) Dixion and Dini.

Finally, I am surprised no one mentioned the brilliant Dick Sprang centerfold in 572. I remember first looking at it in the car riding home and my 12 year old mind thinking ‘this is how Batman should look’

Off to read the follow up article…

[…] to CBR for that little collected cover gallery. And on the same post they have a rather comprehensive […]

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