Review: Batman '66 #26

This issue, written once again by Jeff Parker, introduces Poison Ivy into the 66 Universe. Poison Ivy was created shortly before the TV series went into production, but never made it onto the show, instead doppelganger characters like Marsha Queen of Diamonds and Louie the Lilac were created for the series. Unlike Harley Quinn or Clayface or Croc, Poison Ivy is a character that could really fit naturally into this continuity. But my problem is Parker, true to form, is only about 50% inspired by the 1966 Batman, and 50% inspired by Joel Schumacher's Batman movies.  His take on Poison Ivy seems to be more in harmony with Schumacher than William Dozier and Lorenzo Semple Jr.  What also hurts is the art by Jesse Hamm, like so many artists on this series, turns in art a little sloppy, a little raw, and a little too Mad Magazine satire style.  This issue earns a C-, and another plea from me to DC to bring in better artists, and to bring in Andy Fish to write the scripts.

Review: Batman '66 #25

This issue has two stories.  First is an introduction to the Harley Quinn character into the '66 Universe, written by Jeff Parker with art by Lukas Ketner.  Since the beginning of this series, I have not been a fan of incorporating aspects of the generic DC Batman into this universe, despite it most likely being a corporate mandate from the powers that be at the DC offices.  Harley Quinn, or Harlequin, as she's called in this continuity, is perhaps one of the worst of the lot. I know Harley is reaching new levels of popularity thanks to Margot Robbie portraying her in the upcoming Suicide Squad movie, but the character is just so unnecessary in the '66 Universe.  Parker does his best to make this version of Harley as different as he can (like giving her a Roller Derby motif) while still being essentially the same character, but it ultimately falls flat. The artwork is average with nothing really standing out.  At the end of the story, Harlequin asks if she has achieved Catwoman level or even Egghead level.  The answer for me is Lord Marmaduke Ffog level. This story earns a D.

The second story is simultaneously better and more frustrating. Written by Gabe Soria, the premise is brilliant. A Mad Med parody where the United Underworld (Penguin, Riddler, Catwoman and Joker) go to an ad agency, where Barbabra Gordon just happens to have started a temporary job, to re-brand themselves. Brilliant premise, but a flawed execution. First, Batman and Robin do not appear. Technically, Batgirl doesn't even appear except for a brief daydream sequence. The fearsome foursome are portrayed as being virtually harmless and inept, being outwitted at every turn. This story could have and should have been so much better. The art by Ty Templeton is is excellent, as he's one of the best artists to work on this series.  However, even though the feature film's United Underworld is used, Templeton used Eartha Kitt's interpretation of Catwoman instead of Lee Meriwether's, whose likeness he did use in a one-panel flashback to the feature film in Batman '66 Meets the Green Hornet. The premise and art gets an A while the execution gets a C, averaging out to a B-. That averages out the entire issue as a C.

Review: Batman '66 #24

This issue, written by Ray Fawkes, is an enjoyable issue despite the use of one of the weaker made for TV villains, Marsha Queen of Diamonds. Actually, the script for this issue is, in fact, superior to Marsha's debut episodes. The plot deals with Marsha using a hypnotic reflection diamond to brain wash millionaires into falling in love with her, and giving her their riches.  Bruce and Dick attend a millionaires' event to scope out the crimes, but Dick gets an eyeful of the hypnotic reflections. As Batman and Robin chase Marsha in the Batmobile, Batman notices Robin has removed the Batmobile's diamond-studded brakes to give to Marsha.  This causes a terrific death trap (and resolution) inspired more by old cliffhanger movie serials than the TV series. An amusing scene is when Batman and Robin need to take a bus to Commissioner Gordon's house.  The art this time around is by Jon Bogdanove, who over all does an excellent job. There are a few panels that have a near photographic reproductive look to them, similar to an effect Neal Adams used to do in the early 1970s. Not as well done, in contrast, are a few other panels that take on a Mad Magazine caricature look.  All in all this was an excellent and enjoyable issue, and earns a solid B+.

Review: Convergence: Shazam #2

The 2nd issue of the pre-Crisis Earth-S Marvel Family micro-series continues the high quality set forth by writer Jeff Parker and artist Doc Shaner in the first issue, but yet isn't quite as satisfying. Part of it is the inherent problem of a company wide crossover event. The first issue was an ideal Captain Marvel story in the style all us fans have been clamoring for.  But issue 2 has to get to the business of conforming to the crossover storyline, making this issue seem a little more forced.  This issue guest stars Batman, and since Batman and Captain Marvel are my two favorite heroes, this should be a great event.  And in a certain way it is... but it's the alternate reality Gotham By Gaslight Batman. It would have been so much better in my eyes if it were a Bob Kane style Golden Age Batman, or a classic Bronze Age Jim Aparo style Batman. Mr Parker and Mr Shaner, how about an issue of Batman 66 guest-starring the Jackson Bostwick/Filmation Captain Marvel, using the Legends of the Superheroes TV specials as the foundation?  Another thing that weighs this issue down is the fact we don't get  Doc Shaner sketches like in the first issue.  Instead it's a sneak peek of an upcoming Constatine book, and a multi-page advertisement for the "New DC Universe", which is really just the same old crappy "New 52" (really, guys... you're not even making the Earth-5 Marvel Family's Thunderworld Adventures an on-going series...epic fail right there). Never the less, Parker and Shaner bring their A game.  Parker continues to get the former Fawcett characters' personalities spot on, and he has a very unique and brilliant inter-transformation scene between Billy and Captain Marvel, that is punctuated by Shaner's artwork. As with issue 1, there are lots of cameos and Easter Eggs. This issue earns an A-.

Review: Batman '66 #23

This issue presents two short stories instead of a book-length one.  First up is the introduction of Solomon Grundy into the 66 Universe. The script, written by Jeff Parker, has Marsha Queen of Diamonds' Aunt Hilda conjuring up one of Marsha's deceased husbands as Grundy.  Being a short story, it is fairly simple and straight forward, and to me, reminds me very much of the simple stories from the Batman coloring books of the era.  The art by Brent Schoonover is excellent, some of the best in this series, and is a homage to Carmine Infantino. 

The second story, also written by Parker, has a lot more to the narrative. It establishes the secret origin of False Face: none other than Basil Karlo, the original comic book Clayface from the 1940s. It turns out False Face didn't wears masks. He ingested a serum that allowed him to morph into anyone one he willed. In hot pursuit of False Face in a swamp area, he ingested an altered version of the serum that radically changed him into the Matt Hagen version of Clayface from the 1950s comics.  This story alludes to a new trophy area in the Batcave, which includes a Joker playing card and a giant penny. The art, by Giancarlo Caracuzo, is good, but a notch below Schoonover's work. This issue earns a B.