"The Batwoman!"

Issue: Detective Comics #233

Cover Date: July 1956

Writer: Edmond Hamilton

Penciller: Sheldon Moldoff

Inker: Stan Kaye

Cover Artist: Sheldon Moldoff

Synopsis: The debut of Batwoman begins with Batman and Robin heading towards a new air terminal after the Bat Signal shines in the sky. Unbeknownst to them, the criminals are already being subdued by the Batwoman. She is handcuffing the crooks by the time the Dynamic Duo arrive, running off afterward with the pair in pursuit. They try to catch up to her in the Batmobile, but her Bat-Cycle loses them in a narrow alley. The next night at a world premiere, the Batwoman prevents a diamond thief's robbery, once again racing away. The rest of the jewel gang attempt to get the drop on the Dynamic Duo while they search for Batwoman, but once again she is there to save them. Later, Robin laments that she is making the Caped Crusader look bad, but Batman does not care about that, worried instead about the risks the Batwoman is taking.

At that moment, Batwoman is returning to her own Bat-Cave, located in an old mine tunnel in the suburbs. After changing out of her costume, Batwoman is revealed to be an heiress named Kathy Kane. Reflecting back, we find out that she was a skilled circus trapeze and motorcycle stunt performer who wanted to use her skills to fight crime like Batman. After inheriting her uncle's fortune, she builds a mansion, outfits a Bat-Cave with equipment underneath it, and adopts the super-heroine identity of Batwoman. Back in the present, Bruce Wayne attends a party at Kathy Kane's mansion, where Batwoman comes up in the conversation. Bruce and Kathy appear to hit it off, but abruptly say goodbye to each other when the Bat-Signal appears in the sky. They reunite as Batman and Batwoman at the "Tomorrow Club," where dodging fake Martian idols leads them to respect each others acrobatic skill. Batwoman is able to throw a net on the criminal, but not before he knocks out Batman when the Caped Crusader jumps between Batwoman and the giant robot hand the crook was operating.

Batwoman has the opportunity to discover Batman's identity, but does not as he got knocked unconscious saving her from getting hit. Batman comes to as Robin arrives; the Caped Crusader proceeds to interrogate the criminal, who refuses to talk. Despite his silence, Batman deduces that he must have been a distraction so that his boss Hugo Vorn could commit a crime elsewhere. His suspicions are confirmed when he sees an advertising blimp heading towards the mint. The Dynamic Duo and Batwoman arrive as the mob lands, immediately leaping into action. Using her shoulder-bag strap as a makeshift Bat-Bolo, Batwoman ties up Vorn as he makes for the blimp, which Batman apparently sees as giving her the right to turn the mob over to the police. In reality, Batman left her to it so he could use circus terms she spoke earlier to discover her identity. Back at the Bat-Cave, an analysis of the Dynamic Duo's files not only uncovers her identity as Kathy Kane, but where her Bat-Cave is located. The pair confront her when she returns and Batman convinces her to give up her career as Batwoman. The story ends with Batwoman's portrait from her Bat-Cave hung in Batman's trophy room, with Robin wondering if one day they'll fight crime with her as a Dynamic Trio.

Thoughts: This story is an important one for the era, as it is the first appearance of Batwoman, but it is also deeply flawed. Theses flaws come from the fact that the Comics Code Authority at the time had guidelines that were inherently sexist when it came to female characters. As Michael Uslan cites in his introduction to Batman In The Fifties, "The inclusion of females in stories is specifically discouraged. Women, when used in plot structure, should be secondary in importance, and should be drawn realistically, without exaggeration of feminine qualities." As a result of this stance, Batwoman does not come across as a full character. The story begins with one of the crooks saying, "Ha ha, what can she do?," before the other crook is knocked out by Batwoman spinning a giant globe. This showing of Batwoman as a capable super-heroine in the face of sexism is short lived, as she subdues the other criminal using a powder puff from a shoulder bag and then chains the two together with charm bracelets disguised as handcuffs. These gadgets continue, as she stops the diamond thief by reflecting light in his face using a compact-mirror and a perfume flask containing tear gas stops the rest of the jewel gang later. While I can understand wanting to differentiate Batwoman's equipment from Batman's, this was not the way to do it.

The making light of Batwoman because she is a woman is not limited to the criminal, but extends to the Dynamic Duo too: Robin says "A girl saving you? It's ridiculous!" and Batman himself says "This is no place for a girl." While Kathy being inspired by Batman to use her acrobatic skills to fight crime is fine, his picture on her desk in the next panel introduces a romantic angle that is unnecessary. At the party, Kathy asking "how any woman could ever equal the great Batman," Bruce suddenly voicing admiration for Batwoman's courage, and the two lamenting if only they could tell the other of their costumed identities, furthers the wrong ideas of the story. Its attempt to show Batman wanting to end Kathy's career as Batwoman because he fears for her safety, not because she has made him look bad as Robin sees it, just comes across as more sexism. This is furthered as his reason for Kathy to give up crime fighting, if he uncovered her identity eventually a criminal would, is an unlikely one. It is shown to be an even poorer reason in the next panel, as Kathy is revealed to have assembled cameras and instruments to take photos, x-rays, and height and weight records that would allow her to uncover Batman's identity, showing how intelligent she is. That Batman hangs her portrait in the Bat-Cave at the end just adds insult to injury. While the story shows that Kathy Kane had the intelligence and acrobatic skills which would make her a fine super-heroine, the sexism of the time that pervades it prevented the character from achieving that status.

This story has been reprinted in Batman Annual #4, the Batman From The 30s to The 70s HC, the Batman In The Fifties TPB, and the DC Comics Classics Library: The Batman Annuals Volume 2 HC.

"Bat-Mite's Super-Circus!"

Issue: Detective Comics #310

Cover Date: December 1962

Writer: Bill Finger

Penciller: Sheldon Moldoff

Inker: Charles Paris

Cover Artist: Sheldon Moldoff

Synopsis: Bruce Wayne and Dick Grayson are enjoying a moment of relaxation, noting that sooner or later Batman and Robin will be needed. Meanwhile, Bat-Mite has returned to the crime fighting pair's dimension and is eager to see his hero perform more fantastic stunts. He transforms an old mining town into a variety of objects (including a statue, pirate ship, castle, and fountain), seeing it as a perfect setting for more fun. The next day, Bat-Mite diverts a trio of crooks into going to his circus, where he gives each of them a super-power. The Dynamic Duo first contends with a crook who can stretch, dodging his extended reach by jumping from the ship they boarded to the statue. The second criminal, a human cannonball, rolls toward the statue, but Batman and Robin evade him by sliding down the statue's arm. The third thug, a strongman, prepares to swing a lamp post at the pair, but Bat-Mite transforms it into a flower. While Batman is beginning to figure out that this is another Bat-Mite adventure, the imp hits his head on the pirate ship's plank when he jumps up in excitement.

After having been invisible for the fight so far, Bat-Mite suddenly becomes visible. Before he can try to figure out why, he attempts to remove Batman and Robin from the rubberman's grasp, but finds that he cannot use his powers. He explains to the Dynamic Duo that the part of the brain that allows him to project his powers has been affected, before he is grabbed by the strongman. Batman diverts the water from the fountain into the rubberman's face, allowing the trio to make a run for the Batmobile. They begin to drive off, but the strongman uses the rubberman's body to propel the human cannonball into the Batmobile, knocking its occupants out. The three super criminals leave the Dynamic Duo and Bat-Mite to drown in the dungeon of the castle, but Batman is able to throw Bat-Mite up once they leave to turn off the water. Later, while driving in a spare Batmobile, the crime-fighters receive word that the strongman is breaking into the Gotham Aircraft Company.

When they reach the Company, the trio head for where the payroll safe is located, followed by the strongman. Batman fights the criminal one on one and appears to slam his head into a wall. The strongman delivers what he thinks is the finishing blow, but Batman dodges it and the strongman's fist bounces off the wall and collides with his own face. Batman explains that the wall was in fact a slab of foam rubber used to make seat cushions and he only pretended to be dazed. They then drive to a National History Museum, where an alarm signals the rubberman trying to steal a necklace of black pearls. The rubberman at first has the upper hand, dodging the Dynamic Duo and stopping Bat-Mite with his foot. Quickly, Batman once again outsmarts his opponent, punching his head up into a doorway. For the final criminal, his m.o. provided by the Batcave's crime files leads them to the S.S. Atlanta where a Rembrant is being delivered. While first stopped by oil slick, the human cannonball prepares for another strike, rolling down a gangplank straight for a bunch of explosives. Suddenly, a trampoline appears for the criminal to bounce off of and he returns to normal, signaling Bat-Mite having his powers once again. After dropping the criminals off at prison, Bat-Mite explain's that running into the rubberman's foot returned his powers. The Dynamic Duo point out that this means he had them the entire time they fought the human cannonball, causing Bat-Mite to make a hasty exit.

Thoughts: Today marks the 52nd anniversary of the publication of Detective Comics #267, the first appearance of Bat-Mite, so what better way to celebrate than reviewing a Bat-Mite story? Before I go into this fun little story, I do have a few criticisms, one major and one minor. My major problem is actually with the first panel of the story after the title splash page. In it, Bruce wishes that they had more days of luxury and Dick agrees with him. Now, I am not saying that the pair should never have downtime, but they should always be shown as dedicated to fighting crime. In the Golden Age, the origin stories of both heroes showed them vowing their dedication due to both losing their parents to crime. After those stories and before this one, Batman had confronted his parents' killer and the man who ordered the job done. While continuity was not considered nearly as important as it is today, the number of call backs to Batman's origin should have set how important his dedication to crime fighting is, and by extension Robin's. My other, and much more minor, problem is that Batman says "whoa" after Bat-Mite reveals how long he's had his powers back. Robin saying "whoa" sure, but Batman saying it is odd.

Other than those points, this is another fun Bat-Mite tale. The imp creating an entire castle, a pirate ship, and a statue are clear signs that this is a Bill Finger story. Bat-Mite giving criminals super-powers takes the common story of the Dynamic Duo against normal crooks and makes it more interesting. As Bat-Mite spends most of the story powerless, most of the focus is on Batman and Robin cleaning up his mess, allowing Bat-Mite to tag along and observe his hero in action like he wanted. Bat-Mite still has a few highlights, such as Batman throwing him like a football out of the dungeon and hiding that he got his powers back so that Batman would have to fight the last criminal. Batman outsmarting the super-crooks and making them essentially defeat themselves was the right way to go, rather than a scenario like having them best the Dynamic Duo and Bat-Mite getting his powers back on the last page. Winning fights with his supervillains, and super-criminals such as these, through brain with a little brawn as opposed to merely brawn is how Batman should operate.

Sheldon Moldoff's adds the charm that a Bat-Mite story needs. The expressions he draws on the imps face are part of what makes the character as entertaining as he is. This story also features one of my favorite Bat-Mite panels, where Batman is holding up Bat-Mite by his cape after the trio have been thrown in the dungeon, with the Dynamic Duo's faces on either side and Batman pointing his finger at the imp. There's an art detail that might have been described in the script or a choice by Moldoff. When Batman rescues Bat-Mite from the strongman, he tucks him under his arm like a football, an interesting choice as Batman describes throwing Bat-Mite "like a football." The most interesting art detail is that the rubberman's costume was colored purple and his hair colored red, making him resemble DC's Elongated Man. Elongated Man debuted in Flash #112 from 1960, adding a bizarre little coincidence to another fun visit from Batman's biggest fan.

This story has not been reprinted.

"Batman Meets Bat-Mite"

This review was originally posted on July 27, 2009, but is being reposted on the anniversary of the issue's publication as was originally intended.

Issue: Detective Comics #267

Cover Date: May 1959

Writer: Bill Finger

Penciller: Sheldon Moldoff

Inker: Charles Paris

Cover Artist: Curt Swan

Synopsis: The Dynamic Duo's first encounter with Bat-Mite begins with Bruce and Dick descending into the Batcave. After donning their costumes, they notice several items are out of place, including Batman's utility belt moving from the closet to the floor and damaged lab equipment. Robin wonders if there could be a stranger in the Batcave, when suddenly a voice apologizes for the damage. The voice remarks that it should make itself visible and in front of Batman and Robin appears, in Robin's words, "An elf dressed in a crazy looking Batman costume!" The "elf" of course tells them that he comes from another dimension where all men are his size and after observing Batman's exploits has decided to don his own costume and help Batman fight crime. Batman isn't thrilled with the idea, informing Bat-Mite that they'd have a hard time explaining a creature from another dimension and that it takes a lot of training to become a crime-fighter. Bat-Mite is disappointed, but he disappears with a "Pop!" all the same. The Dynamic Duo believe he has returned to his home dimension, when in actuality he has turned invisible and hitched a ride atop the Batmobile.

Batman and Robin see Tipper Neely and his gang making a getaway on the waterfront. After cutting their car off, the Dynamic Duo pursue the gang across a bridge. Suddenly, the bridge begins to twist and turn, up and down like a roller coaster. Batman quickly deduces that Bat-Mite's powers are responsible, but doesn't understand why he's using them to complicate matters. Batman and Robin slide down one of the dips that formed in the bridge to get to the gangsters. Batman takes a swing at Neely and finds his punch connect in mid-air. The bridge has turned to rubber, but Batman takes it in stride, bouncing along and knocking out the rest of the gang. One of the gangsters wonders what happened with the bridge, prompting Batman to come up with the explanation of chemicals from a nearby plant causing hallucinations. Back at the Batcave, Batman asks Bat-Mite why he transformed the bridge, with Bat-Mite replying that he wanted to prolong the fight since it was progressing so quickly. Batman tells Bat-Mite that crime-fighting is serious business and asks him to return home. Bat-Mite of course turns invisible and waits for the Dynamic Duo to go back out on patrol.

The next evening, Batman and Robin respond to a robbery at a hi-fi show. The Dynamic Duo quickly corner the criminals, too quickly for the Bat-Mite in attendance. He summons a giant record, which slides underneath the criminals and flies high above Batman and Robin. The crime-fighters act quickly, with Batman holding onto the tape from a giant tape recorder and Robin setting it in motion. Batman uses the momentum to fling himself onto the record and bring it and the criminals down. Afterward, Batman and Robin again confront Bat-Mite at the Batcave and again he disappears before their eyes. They turn their attention towards a tip that the Yellow Gloves Gang will rob the Gotham Auto Company and guess they will use an empty warehouse for their escape route. The invisible Bat-Mite overhears this and fills the empty warehouse with giant props, including a giant Batman statue, sphinx, globe, and viking ship. When the Batman and Robin encounter the gang that night, both groups make use of the props. The criminals push the viking ship towards the Dynamic Duo, prompting Bat-Mite to use the sphinx to help them, but he makes it go too high. Batman forgives Bat-Mite for overdoing his powers and has him use them to animate the Batman statue, dumping the criminals out of the viking ship. When Batman asks Bat-Mite to return to his home dimension after the criminals have been taken into custody, the imp agrees...and promises that it is "Good-bye...for now!"

Thoughts: This is it, the first appearance of everyone's favorite imp, Bat-Mite. As it is his first appearance, it has all the characteristics of a Bat-Mite story: Bat-Mite being Batman's biggest fan, his habit of using his powers to extend Batman's fights for his own amusement, and Batman warning Bat-Mite that he's going to spank him. Yeah, I still don't get that one, but there was a precedent set here. I also find it interesting how Batman is so insistent about them having a hard time explaining Bat-Mite away when there were so many aliens invading at this time, not to mention Superman living the next city over. There are a number of great uses of Bat-Mite magic in this issue, with the roller coaster bridge, floating records, and giant statues. Bill Finger was a big fan of giant props and Bat-Mite's magic gave him a great way to channel that into his stories.

This story has some great Sheldon Moldoff art in it. Interestingly enough, even though he co-created the character, the first depiction of Bat-Mite readers saw back in 1959 was Curt Swan's, via the cover. As far as Moldoff's design for Bat-Mite, not much changed from his original depiction except from the head. Later versions have a smaller head and no lines depicting teeth. The facial expressions on Batman, Robin, and the criminals are well drawn, most memorably Batman's in response to Bat-Mite promising he'll return. There's also nice detail in the Batcave, both in the walls and the equipment within the cave. Moldoff also does a great job handling all the magical happenings as a result of Bat-Mite, from the wobbly bridge to the giant Batman statue.

This story is, of course, a classic. If you haven't read it yet, pick up the recently released Black Casebook TPB and get introduced to Bat-Mite all over again.

Addendum: Thanks to Pat for reminding me that this issue marked the 20th anniversary of Batman in Detective Comics.

This story has been reprinted in Batman Annual #7, Batman In The Fifties TPB, Batman: The Black Casebook TPB, and DC Comics Classics Library: The Batman Annuals Volume 2 HC.

"The Jungle Cat-Queen!"

Issue: Detective Comics #211

Cover Date: September 1954

Writer: Edmond Hamilton

Penciller: Dick Sprang

Inker: Charles Paris

Cover Artist: Win Mortimer

Synopsis: This story begins with a pilot preparing to leave his plane to deliver a shipment of diamonds. Suddenly, he is confronted by a black panther, begging its owner (Catwoman naturally) to call the animal off. She complies once the pilot gives her the case of diamonds, flying away in her Catplane. Soon after, a radio news report and the Bat Signal in the sky tell Bruce Wayne and Dick Grayson that they are needed. Arriving at the airport, Batman identifies the islands the volcanic clay that fell from the Catplane's tires came from, and the Batplane soon takes off in pursuit of Catwoman. Batman and Robin do manage to catch up with her, but the villainess did not embark on her crime unprepared, slashing the Batplane's wings with her Catplane's retractable claws. The pair manage to land on the island Catwoman was heading towards, making their way to a mine Robin spotted from the air. The miners appear at first to be afraid that Catwoman is after their diamonds, but reveal their true colors when they set off a noose-trap the Dynamic Duo intended for Catwoman.

The miners are in fact criminals in league with Catwoman and prepare to shoot Batman and Robin, but are stopped when the cat-queen herself arrives. She prefers to hunt them rather than merely shooting them, making the pair don jungle clothing so that they won't have their usual gadgets to rely on. Batman and Robin run into the jungle, eventually using the reeds-as-breathing-tubes trick to evade Catwoman and a trio of her jungle cats. As night begins to fall, the Dynamic Duo follows the cat tracks hoping to find Catwoman's secret lair. They lead the pair to a giant temple originally occupied by cat worshippers, where they discover Catwoman's jungle cats are in fact circus animals she brought with her. Using a whip, Batman is able to drive the animals to their cages, leaving Catwoman to be apprehended. John Jarrow, the head of the miners is able to provide a distraction, releasing a gorilla who manages to pick up Robin.

Batman fends the gorilla off with fire back into its cage, but left himself open for Jarrow to point his gun at the Caped Crusader. To get rid of Batman once and for all, Jarrow plans to have him sent tied up down a river and over a waterfall. Catwoman suggests that he given his costume back so it will disappear as well. While Batman is being thrown in the river, Robin wakes up with a lion sniffing him and manages to send the animal away with the smoke from a burning plant. Meanwhile, Batman is able to save himself from a watery death using a silken rope and emergency knife that Catwoman missed removing. After tying up Catwoman, Batman makes his way to the mine sites and confirms that the criminals were stealing diamonds and pretending they mined them themselves. The "miners" corner Batman, but Robin saves the day through a stampede caused by the smokescreen he created. While the Dynamic Duo knock out the criminals, one of Catwoman's cats frees her and she escapes in her Catplane. Batman confirms to Robin that Catwoman intentionally the tools in his belt and that such sentimentality will allow them to catch her.

Thoughts: For my first reviews back, I wanted to spotlight some of Batman's rogue's gallery as many of the stories I've written about have featured the standard criminal gangs. And Catwoman's use in the story allows for a top quality fifties Batman tale of adventure, mystery, and a gorilla too. From the tropical island setting to the diamond smuggling operation to the animal threats, it's high comic book adventure at its finest. It is interesting how Hamilton attempts to ground the story in a degree of realism by explaining the animals are circus animals, only to introduce a giant ape that can hold Robin in one hand soon after. But I'm not complaining; as a wise man once said, everything's better with monkeys (or apes as the case may be. At the beginning of the story, Batman taps into his inner Sherlock Holmes to identify the islands the clay is from without having to consult any books or scientific equipment. The mystery of the diamond mines is a bit more clever, as the reader dismiss Catwoman's theft of the diamonds when she's part of a mining operation as convenience for the plot before the story is over. The most interesting aspect of the story is Batman's relationship with Catwoman. From their first meeting, the game of cat and mouse between the two of them has been a flirtatious one. This is apparent in Catwoman wanting to chase Batman rather than easily dispatch him. Her wanting to swap the Dynamic Duo's costumes with the jungle outfits may seem odd at first when removing their utility belts would be adequate, but apart from the obvious Tarzan nod, it fits with the underlying romantic tension between Batman and Catwoman. And it is the Batman/Catwoman relationship that elevates this story from an entertaining fifties Batman adventure story to a great one.

In addition to choosing the stories for this week for their featuring supervillains, I also chose them because they featured artwork by Dick Sprang. It's apparent that the reader is in for a visual treat with the title splash page, depicting Catwoman charging on a giant Tiger towards the Dynamic Duo hanging from their ropes. This splash page sets the tone for the adventure to follow, with the larger than life tiger even anticipating the giant gorilla to come. In a story with a heavy presence of animals, you need an artist that can draw them well and Sprang certainly fits that bill. Not only does each animal look like they are supposed to, they are drawn in a detailed manner where hair and spots are concerned. One of the best drawings is of the gorilla taking a swipe at Robin, drawn with dynamism and energy. The hair trails off the body, giving the gorilla a more realistic look, while the swiping arm crosses into the next panel, allowing the strength of the arm coming towards Robin to be conveyed. Sprang's attention to detail extends not only to the animals, but to the island jungle. When the Batplane arrives on the island, Sprang could have gone with a shot closer to the craft, showing it and some trees. Instead, Sprang utilizes a long shot over the island, showing not just trees, but the "mining" camp, mountains, and a waterfall. Such details bring the setting to life and makes it standout against the city settings of most Batman stories. While the art is great throughout, my favorite panel has to be the first one of the ancient temple. The towering temple, the cat statues around it, and the wisps of fog across the panel work together to set a mood of foreboding. While Sprang's art always receives high praise from me, I feel confidant in saying that this story was one of his best.

This story has been reprinted in Batman #198 and The Greatest Batman Stories Ever Told.

"Secrets of The Flying Bat-Cave!"

Issue: Detective Comics #317

Cover Date: July 1963

Writer: Unknown

Penciller: Sheldon Moldoff

Inker: Charles Paris

Cover Artist: Sheldon Moldoff

Synopsis: This story finds Bruce Wayne and Dick Grayson once again descending the staircase to the Bat-Cave to change into their costumed alter egos. It is not in order to go out on patrol, however, but rather to prepare to leave for a police convention in Center City. Batman and Robin are attending to help publicize the event, and when Dick laments that they won't be able to show the police the equipment they have beyond what they carry on them, Bruce gets the idea to bring the Bat-Cave to the convention. Soon after, an improved model of the Flying Bat-Cave takes to the skies and begins making its way to Center City. The trip is given pause for a moment, when the Flying Bat-Cave's observational devices show two members of the Condor Gang leaving the Suburban Bank. The Flying Bat-Cave's electromagnet disarms the gang members and the Dynamic Duo subdue them with ease. After taking them to police headquarters, Batman and Robin continue their journey to the police convention, where Batman addresses the assembled officers and leads them on a tour of the Flying Bat-Cave.

That night, a car speeding through the streets ejects a piece of jewelry from its trunk after skidding. A young man comes across it and, after following the car to where it had stopped, attempts to arrest the men who are attempting to lock the trunk. Luckily, Batman and Robin come upon the scene in a compact Batmobile and send the men driving away. The Dynamic Duo pursue the car, but are stopped by a giant advertising sign toppled by a grenade. Returning to the young man, he tells them his name is Joe Arno, a one time hobo who is now a rookie on the police force. He suspects the piece of jewelry he found was stolen by the Condor Gang and that they're using Center City as their headquarters. One identification by the police in another city later, and Joe's suspicion is considered to be accurate. Elsewhere, the Condor Gang holds an emergency meeting where they make plans to get Batman and Robin out of their business once and for all.

The next day, while the Condor Gang makes a statement in the newspapers telling Batman and the police convention to clear out, the Dynamic Duo arrive at the Center City police headquarters to find that Joe did not show up for duty. Thinking he went to do some investigating on their own, Batman and Robin return to where they met him and decide to check out a boarded up store nearby. Inside they come across signs of a struggle, along with a bullet and two hobo signs drawn on a wall. After deciphering the signs on the wall, Batman, Robin, and a group of police officers drop from the Flying Bat-Cave onto the Condor Gang's hideout. They're able to rescue Joe, but two of the Gang disappear through a secret passage. The next day, special ceremonies are being held for a police fund when the Flying Bat-Cave apparently explodes over the crowd. A pair of handcuffs filled with an explosive were swapped with Joe's by the Condor Gang, who rush out to steal the fund. Suddenly, the Flying Bat-Cave appears, trapping most of the gang members in a giant metal hand while Joe captures the final gang member using a whirly-bat. Batman was able to discover the swapped handcuffs as they were lighter than normal handcuffs, sending a balloon of the Flying Bat-Cave in the real thing's place. The story ends with Joe being promoted to detective, later saying that the hero of the case was the Flying Bat-Cave.

Thoughts: The writer of this story unknown, but if I had to make a guess, I'd say it was written by Bill Finger. The giant advertising sign that blocks the Dynamic Duo's path is in line with Finger's tendency to include giant props in his stories. As for the story itself, I enjoyed it much more than the Flying Bat-Cave's first outing. The action scenes were more exciting, from the storming of the Condor Gang hideout by the Dynamic Duo and the police to the apprehending of the rest of the gang members with a giant metal hand and a whirly-bat (have I mentioned how awesome the whirly-bats are?). I also like the story of Joe Arno, going from a hobo to a rookie cop to a police detective. Speaking of Joe's hobo past, the fact that Batman and Robin have a guide to hobo signs in the Flying Bat-Cave proves that they leave no stone unturned when it comes to crime fighting. As for the Flying Bat-Cave, we get a much better look at it, including a galley, sleeping quarters, and mini-garage. The improvements must have been nation wide, considering how Batman is able to contact a random police station via television camera and screen. The Flying Bat-Cave is also equipped with steam valves to create camouflage, along with the balloon for faking out criminals. The use of the electromagnet is a nice touch, as it calls back to its use in the first appearance of the Flying Bat-Cave. Many of Batman's foes were normal gangsters, apart from Batman's Rogues Gallery, so it's nice to see a gang with a gimmick, like this one where many of the members wear condor masks.

Sheldon Moldoff provides some great art for this issue, starting with the cover. It was actually the cover that grabbed me to buy the issue in the first place, with the Dynamic Duo descending on a pair of helpless criminals on bat-wings. The scene on the cover is replicated in the issue, with the inclusion of parachute wearing police officers. Moldoff does a nice job of following up the first design of the Flying Bat-Cave, making only minor changes to it. The biggest change is actually in the coloring, with the originally blue Flying Bat-Cave now purple. Moldoff was also the perfect artist for the condor masks, considering his past run on Hawkman during the Golden Age. He also adds a touch seen in a character design for a pair of characters I'll touch on next week, with the condor masks having a "C" on the bottom feathers. The action scenes in the issue are given a suitable level of dynamism, from Batman and Robin sliding down the electromagnet's cable to the fight at the hideout. And, while I'm not an expert, I'm willing to bet that Moldoff knows his hobo signs.

At the beginning of the story, Batman mentions that maybe they will be using the Flying Bat-Cave more often. Unfortnately, this did not come to pass as the Flying Bat-Cave made only two appearances as far I know. Maybe one day a writer will look back into the past and bring the Flying Bat-Cave back to the skies.

This story has not been reprinted.

"The Flying Bat-Cave!"

Issue: Detective Comics #186

Cover Date: August 1952

Writer: David Vern Reed

Penciller: Lew Sayre Schwartz

Inker: Charles Paris

Cover Artist: Win Mortimer

Synopsis: The story begins on an exciting note, with Robin surrounded by gun wielding gangsters. They're fully prepared to bump him off, when their boss "Diamond" arrives on the scene and tells them he can use Robin alive. Later that night, Bruce Wayne is wondering why Robin has not yet returned when the Bat-Signal suddenly lights up the sky. Arriving quickly after at police headquarters, Batman receives a note telling him to go to Regan's Baths if he wants to see Robin alive again. At Regan's Baths, Batman is given one of Robin's gloves as proof that he's been captured. Then, under the cover of hazy steam, he signs an agreement that he and Robin won't set foot in Gotham City for a week to secure Robin's freedom. Several hours later, Robin arrives at the Bat-Cave unharmed, while news of the agreement reaches the home of "Big-Time" Gateson. After Diamond assures him that when Batman puts his name on an agreement, he sticks to it, "Big-Time" tells him he'll be going ahead with the biggest crime Gotham City has ever seen. Back at the Bat-Cave, the Dynamic Duo have twenty-four hours to leave town. As they tick by, Robin makes note of Batman placing a large amount of calls, the latest one being for fifty tanks of helium. As for the criminal underworld, a celebration is in full swing, with Diamond alluding to Batman's absence doing more good for him than anyone else.

The next day, "Big-Time" puts his plan into action by having several members of his gang pose as window dummies to rob armored cars transferring money from one bank to its new location. The plan seems to go off without a hitch, when suddenly, the Flying Bat-Cave appears in the sky. Batman and Robin drop a giant electromagnet from the Flying Bat-Cave, taking away the crminals' guns and allowing the police to capture them. "Big-Time" and half of his gang manage to escape, with "Big-Time" coming up with a new plan that the Dynamic Duo won't be able to stop. The plan in question has "Big-Time" and his gang breaking into the basement of a fur storage warehouse through an underground conduit. While patroling the city, Batman notices the electricity and water off at the section where the gang are and suspects something fishy is going on. Descending into Gotham Harbor via a bat-osphere, Batman is able to detect sounds in one of the conduits using sonar and Robin radios the police to cover the manholes in the area. Trapped, the gang attempt to escape through a drain tunnel leading to the river, but are stopped by Batman and Robin. "Big-Time" was able to spot Batman in time and escape back through the tunnel, leaving him with four days left to pull a job with Batman off the ground.

The next day shows why Diamond hatched his scheme, as he is on trial for a larceny charge. Batman is the only witness against Diamond, and with him unable to set foot in Gotham City, Diamond is confidant he'll leave the courtroom a free man. Unfortunately for Diamond, Batman remembered the trial date and made pre-arrangements with the D.A. to take the witness stand via a television broadcasted to from the Flying Bat-Cave. Diamond is able to get a note to his gang to build a diathermy machine next to the courthouse, jamming the signal, but it's quickly restored by the Dynamic Duo dropping the Giant Penny they brought with them in front of the machine. A few days later, Batman and Robin have less than two hours left in the air when they spot "Big-Time" and his gang on top of the post office. What they think are bags of loot turn out to be a ruse when an anti-aircraft gun is revealed. The Dynamic Duo come under fire and escape from the Flying Bat-Cave via parachutes, descending to the roof of the post office. The gang is defeated, with "Big-Time" exclaiming that Batman has broken his word. Batman informs him that the post office belongs to the federal government, not Gotham City, thus the agreement remains unbroken.

Thoughts: This is an interesting story in that my basic thoughts are a flip-flop of those I had for "The Voyage of The First Batmarine": the premise is implausible, but the execution is done quite well. I can overlook a lot of plots in Silver Age comics, but this one I just can't look past. Super-heroes have values that make them heroic sure, but really, having a hero's ability to fight crime due to an agreement with a criminal makes no sense. I see what they're going for with the angle that Batman is a man of his word, but I really don't think the public would turn against Batman for going back on an agreement with a criminal to round up the crooks that kidnapped his sidekick. I'm going to take a page out of David's comment on my "Voyage" post and say that Batman went along with the agreement because he had the idea for the Flying Bat-Cave in his head and wanted to build it and show it off. Speaking of the Flying Bat-Cave, honestly, I think it's just plain cool. A compacted version of the crime lab, along with a few pieces from the trophy room, in the sky? Awesome. My favorite piece of the Flying Bat-Cave has to be the radar-observascope, which is basically a giant magnifying glass that they use to scan the city.

Despite the premise being shaky, the execution works. A giant magnet, while being a giant magnet, makes sense to bring along ahead of time as guns are the criminal element's weapon of choice. Batman and Robin able to fight crime in Gotham Harbor? Sure; after all, he didn't set foot in the city. The calls at the beginning set up for the television in the courtroom and the post office explanation is also valid. While the premise takes a heftier than average dose of suspension of disbelief, this is another good story with another fun addition to Batman's bat-garage.

Lew Sayre Schwartz's art is servicable. It's not bad or anything, but it falls behind Dick Sprang and Sheldon Moldoff for me. I do like his design of the Flying Bat-Cave, almost like a giant, widened helicopter. Like his fellow Batman ghost artists at this time, Schwartz's Batman has a very distinct look that makes his work easy to identify. I will say that there was one scene where Schwartz's art didn't sync with the story and that was in the courtroom. The facial expressions and body language of the D.A. in some places made it look like he was anxious that Batman was able to provide his testimony despite being on Batman's side. Without the word balloons, this would change the perception of what is going on in the scene quite a bit. Like I said, Schwartz isn't a bad artist, but his work doesn't engage me like that of his contemporaries.

This story has been reprinted in Batman #203 and the Secrets of The Bat-Cave TPB.

"The 10,000 Secrets of Batman!"

Issue: Detective Comics #229

Cover Date: March 1956

Writer: Unknown

Penciller: Dick Sprang

Inker: Charles Paris

Cover Artist: Win Mortimer

Synopsis: This case from Batman's crime-file opens with Bruce Wayne and Dick Grayson watching a television program entitled "Man-To-Man." At its end, host Waller mentions that next week's show will take place in none other than the Bat-Cave. Bruce mentions that he could not turn such an offer down as Batman, since the sight of his crime fighting equipment would do quite a bit to make criminals think twice about committing a crime. The next week, Batman takes the television crew to the Bat-Cave in a sealed truck to prevent its location from being discovered. The broadcast begins in the Dynamic Duo's trophy room and later moves to the section housing all of their crime-files. Suddenly, a cable from one of the crew's cameras accidently triggers an old trophy, in the form of the Mechanical Mobster. Batman and Robin quickly shut the robot off, providing the show with an exciting conclusion. While Batman is taking the television crew back to their studio, Robin takes down fake granite put up to disguise the real rock of the Bat-Cave. While doing so, he makes a grim discovery that he reveals to Batman upon his return: the microfilm file containing a copy of their entire crime-file is missing! Quickly deducing that the robot being turned on was a diversion, the pair drive off to the television studio to confront the four member crew.

Batman and Robin catch three of the four crew members before they're about to leave and search the premises. When the Duo come up empty handed, they learn that their technician Varnor went home complaining of a headache. Batman and Robin arrive at Varnor's home to find him dazed, having been knocked out and impersonated. After consulting their crime-file for criminals matching Varnor's description, Batman and Robin determine that Mart Mathers is their most likely suspect. Batman goes off to confront Mathers, while Robin informs Commissioner Gordon of the situation. Batman finds Mathers, but is unable to prove he had anything to do with the robbery, though the $10,000 he finds makes it pretty obvious he did. Batman has a plan though, and imitating one of Mather's criminal friends, is able to convince him to seek more money for the job. Batman is able to stowaway in Mather's car and finds the criminal's hideout to be an abandoned organ factory. The gang is run by a man named Creeden, who lets Mathers into his group while gloating about possesing Batman's secrets. Using a pipe organ as a distraction, Batman grabs the box containing the microfilm rolls, but is forced to hide in a boiler to escape gunfire.

Creeden closes the boiler, trapping Batman inside. He also reveals that he has the microfilm rolls on him and that the box originally containing them is just that, a box. Thinking Batman has no chance of getting out, the crooks leave to implement their heist. Unable to contact Robin with his belt radio, Batman uses his ingenuity to snap the boiler's outside safety valve through concentrated heat by burning the microfilm box. Slipping his silken cord through the hole he created, Batman is able to open the boiler and call for Robin. Upon reaching the Bat-Cave, Batman tells Robin their only lead: the criminals' operation requires the use of a rubber boat. After running through crime-file their crime file for locations that can be reached by water, the Dynamic Duo are able to narrow it down to an underground resovoir underneath a jewel firm. due to the small size of the entrance requiring a foldable rubber boat. Batman and Robin turn out to have deduced correctly and sneak up to the crooks' raft through the use of skin diving suits. As gunshots will cause the rubber boat to sink, Batman and Robin quickly subdue the gang and return their microfilm file to the Bat-Cave.

Thoughts: This story has pretty much everything you could want from a Silver Age Batman story. You have action with the robot in the beginning, mystery with the identity of who stole the microfilm file, danger in Batman being trapped in the boiler, Batman using brains over brawn to get out of the situation in the boiler, and gadgets in the Dynamic Duo's crime-file (which is a state-of-the-art for the time card sorting machine). It's one of the most perfect examples of what a Batman story is all about, which is fitting considering it was reprinted in Batman Annual #1, which is an excellent introduction to this era's Batman. Part of what makes the story so great is the set up. Today's Batman would never permit a camera crew into the Bat-Cave, but the Batman of 1956 would; this a story that could only happen in the Silver Age. The scenes where Batman and Robin use the crime-file are nice ways of spotlighting their detective skills, as the have to quickly come with factors that can narrow down their possibilites more and more. I really appreciate how, in an opportunity where the writer could have made Batman and Robin's identities part of the crime-file, he doesn't and instead specifies the crime-file as a collection of top secret law enforcement information. My only issue with the story is Batman's ability to replicate the voice of a criminal who happens to be a friend of Mathers; the line in the story almost reads as if it is the writer speaking directly to the reader. Other than that quibble, the story is pitch perfect, and it's a pity the writer is unknown.

While re-reading this story, I was struck by exactly how brilliant of a storyteller Dick Sprang was. The second panel of the third page shows Robin running towards the robot and the reader, while the page's sixth panel shows the Batmobile driving away from the reader. The fifth panel of the fourth page is a great close up of Batman and Robin's determined faces, while still showing Varnor clutching his head in the background between their heads. Thr fourth panel of page five is a fantastic nighttime panel, complete with a dynamic image of Batman exiting the Batmobile. The fifth panel of the same page is slanted, taken aback just as Commissioner Gordon is within it. The abandoned organ factory is as large and haunting as it should be. Dick Sprang's trademark circular panels are prominent throughout the entire story. Everything about the artwork, even the cards being sorted, is dynamic. I haven't read his entire body of work, but I can't think of a story with artwork more brilliant than what Dick Sprang contributed to this one.

While nothing is ever truly perfect, this story is about as close to perfection as a Silver Age Batman story can get.

This story was later retitled "Batman's Electronic Crime-File!" and has been reprinted in Batman Annual #1, Giant Batman Annual #1 Replica Edition (1999), and DC Comics Classics Library: Batman - The Annuals Vol. 1 HC.

"Batman, The Magician!"

Issue: Detective Comics #207

Cover Date: May 1954

Writer: Bill Finger

Penciller: Sheldon Moldoff

Inker: Charles Paris

Cover Artist: Win Mortimer

Synopsis: The story opens with a group of four criminals rushing into an apartment calling for their boss. They had heard that a rival gang, the Moriarity Gang, had paid a visit to their leader and may have possibly taken care of him for good. They find their boss alive, but teetering on the edge of life and death, as a chemist accompanying the Moriarity Gang has filled a pair of manacles placed upon the boss' wrists with a high explosive. The slightest movement could set off the explosive, making conventional methods of removing the manacles useless. The mob boss thinks all is lost when he catches sight of a billboard for Merko The Great, realizing that the magician's escape artist skills would be best for removing the manacles. The boss' men tell him they'll grab Merko at his show that night, a show that features among its audience Bruce Wayne and Dick Grayson.

After the first act of his performance, Merko finds himself falling through his own trapdoor courtesy of the criminals. Bruce becomes suspicious when Merko doesn't appear to take his bow and, after a quick costume change, Batman and Robin appear backstage. It becomes apparent while talking to the stage hands that if Merko was kidnapped, it would be through the trapdoor, but when the Dynamic Duo follow it outside, there is no trace of the magician. This presents a problem as the performance is for charity, and if the show does not go on, the money will have to be refunded. The story then cuts to the criminal gang, who have brought Merko to their boss' new vibration proof room. Merko has no intention of freeing the crook, but figures he can stall as the crime boss needs him to unlock the handcuffs. Back at the theater, Bruce disguises himself as Merko, with Dick Grayson planted in the audience to be picked out as an assistant. The pair finish out the night with such tricks as pulling rabbits out of a hat and making a rope stand straight in the air without touching it.

After the performance ends, Batman and Robin head out to begin their search for Merko. While on patrol, the come across a group of the boss' goons robbing an armored car using a wrecking ball from a construction site. Batman and Robin go in swinging, but are distracted from the crooks by the armored car bursting into flames. They're able to rescue the driver, but the gang escaped in the meantime. The next night, the Duo continue their act, including the suspended animation trick, staying submerged underwater, and making an elephant disappear. While the act is going on, the boss is shown a newspaper with a front page on Merko's acts. Surprised, he quickly deduces that Batman has taken the magician's place and sends his men to take out the Caped Crusader. Their attempt fails thanks to a stampeding elephant and their getaway allows Batman and Robin to hitch a ride to their hideout. The Dynamic Duo easily dispatch the goons and make their way to the boss' room, where Batman reveals that there was no explosive in the handcuffs at all. Batman points out that the vibrations from the phone on the boss' desk would have caused the explosive to detonate long ago, leading Merko to comment that even Houdini himself would be impressed by Batman's "magic of deduction."

Thoughts: Before I talk about what's inside the issue, I want to talk about the cover surrounding it. Win Mortimer did a number of Batman covers throughout the Golden Age and every one of them was a gem. This issue's is no exception. While it is Bruce performing the magic tricks and not Batman, the cover captures the issue thematically. Batman's pose is great and the assistant and Robin complete the magical aspect to the piece.

On the whole, the story is a great one. The potentially explosive handcuffs add a suspense element, leaving the reader asking himself if they're going to explode, and later, how long Merko will be able to stall. The main fight scene is a great one, with a swinging wrecking ball and a rescue situation giving it a heavy dose of excitement. The highlights of the story are the magic tricks performed by Bruce, the secrets of which are revealed to the reader after they're performed. What kid (and adult for that matter) hasn't seen a magic trick and wondered how the magician does it? Well, with this issue, you can find out how five of them are done. The only nitpick I have on the story is that in the scene where the boss becomes aware of the continued Merko appearances, he makes reference to Batman and Robin noticing the criminals kidnapping Merko. The only problem is, the alley is deserted by the time Batman and Robin reach it, so it's a bit of a leap in logic for the boss to make. But I guess when you live in Gotham City and a magician you know you kidnapped is being impersonated, who else could be behind it but Batman?

Artwise, the story has some of the best Sheldon Moldoff work I've seen in a Batman story. Every page looked well polished, as if Moldoff spent more time than usual on the pages. Like the cover, the splash page depicts Batman in the magician garb, but unlike later issues, it's not an exact reproduction of the cover. The magician Batman, complete with turban, has his wand pointed at a top hat from which playing cards, rabbits, gangsters, Batman and Robin, and an elephant emerge. Fantastic splash page and my profile picture of choice at the moment. Moldoff's facial expressions in the issue were spot on, especially the panicked look that appeared on the boss' face. Moldoff's brilliant art complements Finger's solid script perfectly, resulting in a must read Batman story.

This story has been reprinted in Batman Annual #2 and the DC Comics Classics Library: Batman - The Annuals Vol. 1 HC.

"Bat-Mite's New York Adventure"

Issue: Detective Comics #482

Cover Date: Feb/Mar 1979

Writer: Bob H. Rozakis

Penciller: Michael Golden

Inker: Bob Smith

Cover Artists: Richard Buckler and Dick Giordano

Synopsis: One night at DC Comics' New York offices, artist and editor Al Milgrom is up late working to meet a deadline. He is working on illustrating an issue of Firestorm when suddenly he hears his typewriter clacking away. He turns to it to find "we want bat-mite!" typed onto a sheet and wonders who the wise guy is. He hears a noise outside and sees not only fireworks exploding to form "WE WANT BAT-MITE" in the sky, but also a crowded street shouting the same message. Bat-Mite then appears sitting on Al's telephone and Al, thinking this is probably what happens after you eat soda and pretzels for dinner, tells him that he can't talk right now as he has a deadline to meet. Bat-Mite says he can help with that and illustrates the Firestorm page in his own unique style. Al doesn't think his editor Jack Harris will like Bat-Mite's interpretation, so Bat-Mite poofs him into the office, in the middle of changing his daughter's diaper no less.

Bat-Mite tells him he can get back to the diaper changing once he says how much he likes the artwork, but when Jack says he doesn't like it, Bat-Mite sends him back anyway. Al asks Bat-Mite what he wants and he tells him that he wants his own feature in Batman Family. Al tells him they'd need a writer, so Bat-Mite teleports Bob Rozakis to the office. Bob asks if Bat-Mite is who he thinks he is and Al tells Bob to just bear with it as it's his hallucination to deal with. Al reminds Bat-Mite that they need an artist, inker, letterer, colorist, and production man to complete a feature, so Bat-Mite summons Michael Golden, Bob Smith, Milt Snapinn, Anthony Tollin, and Todd Klein. Things get rather crowded and loud, so Al calls everything to order and asks Bat-Mite if they promise to do a story about him for Batman Family, he'll leave them alone. Bat-Mite agrees, but tells them that if they don't do the feature, he'll be back with Mr. Mxyzptlk. Al, presumably anticipating a long night, asks if anyone wants to order a pizza.

Thoughts: Not much to comment on, as this story is very much in the same vein as the one page strip from Brave and The Bold #200. This one runs six pages and is a lot funnier, with several nice gags associated with the creators and their reactions to Bat-Mite tricks like a floating typewriter. Michael Golden's artwork is also quite nice, although he draws Bat-Mite more like a miniature Batman than the classic design of the Silver Age. Of course, a Bat-Mite feature never appeared in Batman Family, although one would think this story would have. As it turns out, it was supposed to run in Batman Family #23, but for whatever reason turned up in Detective Comics instead, albiet with the "Batman Family" subtitle.

This story has been reprinted in the Greatest Batman Stories Ever Told (1988) TPB.

"The Bat-Mite Bandits"

Issue: Detective Comics #289

Cover Date: March 1961

Writer: Bill Finger (?)

Penciller: Sheldon Moldoff

Inker: Charles Paris

Cover Artist: Sheldon Moldoff

Synopsis: The story begins with Bruce Wayne lounging in an exclusive Gotham club. After he leaves, a pair of his fellow club members comment on how they wish Bruce would find something he was interested in. If only they knew that later that night, Bruce would prepare to go on patrol as Batman, accompanied as usual by Robin. As the Dynamic Duo drive through the city in the Batmobile, Bat-Mite suddenly appears on the hood. Batman and Robin tell Bat-Mite that they know he means well, but that his help usually results in trouble for the pair, and ask that he return to his home dimension. Bat-Mite walks away dejected, but it is far from the end of his most recent trip.

The next night, Batman and Robin respond to a burglar alarm at the estate of John Stratton, a multi-millionaire who collects scale models of famous statues. The duo easily gain the upper hand against the trio of thieves who set off the alarm, but find their fortunes reversed when a sphinx statue suddenly comes to life. The source of the sphinx's sudden animation is of course Bat-Mite, who brings the statues to life to make the fight more exciting. After the thieves are freed and captured again several times, Bat-Mite enlarges a golden scabbard stolen by the thieves and flys off on it with them. As Bat-Mite always allows Batman and Robin to apprehend the criminals after his fun, the Dynamic Duo don't know what to think of this apparent turn to crime.

As it turns out, Bat-Mite was approached was approached by a criminal named Willy Wile after Batman and Robin asked him to go home. Willy tells Bat-Mite that he is making a film of Batman's exploits, with the profits going to Batman's favorite charities, and that if Bat-Mite uses his powers to create more interesting situations for his "actors", the movie will make more money. Wanting to help his idol, Bat-Mite agrees and unknowingly assists in several crimes he believes are staged. After a "scene" at a sports equipment building, the "Bat-Mite Bandits" make the newspapers, and Bat-Mite begins to have doubts. A viewing of the "film" thus far puts Bat-Mite at ease, and he leaves to return the return the sports items to normal size. Shortly after, the criminals discuss one last heist before they leave the country. That night, the Bat-Mite Bandits strike the Museum of Oriental Art, but this time, Bat-Mite helps the Dynamic Duo capture the crooks, including Willy Wile. As it turns out, Bat-Mite had gone back to run off a copy of the "film" and overheard the crooks' plans. After Bat-Mite explains everything to Batman, he forgives him, and Bat-Mite returns to his home dimension.

Thoughts: This story has a nice twist on the Bat-Mite formula. He still has the intention of helping his idol while having fun, but this time, he is unknowingly using his magical powers to assist the crooks he usually helps Batman bring to justice. And out of the many normal criminals Batman went up against in the 40s and 50s, Willy Wile's plan is pretty crafty. True, the quickness in which he forms the plan is kinda suspect, but still...pretending to make a film of which the profits would go to Batman's favorite charities? That's just downright villainous. And it's nice to see Bat-Mite grow wise to the whole scheme and give the criminals their comeuppance. Continuing on the continuity note from last post, this story was published after "Batwoman's Publicity Agent" and in it we see Bat-Mite mentioned in the newspapers, retaining his existence being public knowledge. And the kid crying while the news of the "Bat-Mite Bandits" is being hawked? Nice touch. The opening scene with Bruce is also a great way to show Bruce's efforts to keep him as far from being suspected as Batman as possible. Bat-Mite's magical powers are at the top of their game, bringing statues to life, giving flight to enlarged scabbards, and turning a giant baseball mitt into an obstacle for the Dynamic Duo. While Batman and Robin find his antics aggravating, fifties Batman fans will always see them as Bat-Mite does: just a lot of fun.

This story has not been reprinted.

"The First Batman"

Issue: Detective Comics #235

Cover Date: September 1956

Writer: Bill Finger

Penciller: Sheldon Moldoff

Inker: Stan Kaye

Cover Artist: Sheldon Moldoff

Synopsis: One day, while Bruce and Dick are cleaning out the attic in Wayne Manor, Dick accidently touches a hidden spring in a desk that had belonged to Bruce's father. A secret compartment is revealed, and Bruce reaches in it to pull out...a bat costume! The gears start to turn in Bruce's mind, as he remembers seeing the costume on his father when he was a child. Dick remarks that this means Thomas Wayne was a Batman before Bruce, but Bruce responds that that's impossible, as he became Batman many years after his parents death. Returning to the compartment, Bruce discovers a film reel and a diary. The film reveals that Thomas Wayne had been at a masquerade ball, the theme of which was flying creatures, when he was forced to leave by gunmen who had need of a doctor. The diary continues the story, revealing that Thomas Wayne had been taken to remove a bullet from a bank robber named Lew Moxon.

Knowing that Moxon would not let him live after the operation, Thomas Wayne knocks Moxon's chair out from under him and punches out his cohorts. Moxon is arrested by the police and sentenced to ten years in prison. Thomas Wayne runs into Moxon after his sentence ends, with Moxon telling Thomas that he'll be hiring someone to kill him in return for putting him in jail. The diary holds two revelations for Bruce: that the bat who had burst through his window subconsciously reminded him of his father in a "Bat-Man" costume and that the murder of his parents at the hands of Joe Chill had not been a holdup, but a hired killing. Bruce also realizes that he was left alive to serve as a witness, preventing Moxon from being connected with th killing. Bruce tells Dick to don his Robin costume, announcing that the Wayne Murder case has been reopened.

Through Commissioner Gordon's police contacts, Batman and Robin learn that Lew Moxon is living in Coastal City, running a billboard blimp business. The Dynamic Duo fly there via Batplane and a fight ensues between them, Moxon, and his men when they arrive. Batman and Robin of course come out on top and take Moxon to the local police station, where he tells them he has never heard of Thomas Wayne. He even agrees to a lie detector test and ends up passing. Confused by this turn of events, Batman telephones Comissioner Gordon and discovers that Moxon received a head injury from an automobile accident, resulting in amnesia. Batman and Robin follow Moxon's blimp, knowing they wouldn't have been jumped by Moxon's men unless he was involved in criminal activities, and catch Moxon's men right in the act. With the evidence they need, Batman and Robin go to confront Moxon, with Robin remarking that Bruce should don a spare Batman costume after the wear his current one has suffered. Without a spare Batman costume, Bruce puts on his father's bat costume (he had brought it along because it made him feel that his father was on the case with him). When Bruce confronts Moxon, the sight of Thomas Wayne's costume restores his memory and he runs away thinking that it is Thomas back from the dead. He is so griped by fear that he doesn't notice his surroundings and is hit by a truck, bringing an end to the Wayne Murder Case once and for all.

Thoughts: This story completes a Batman origin trilogy (to borrow a phrase from Bill Jourdain of The Golden Age of Comics podcast) of sorts that ran throughout the Golden and Silver Ages, all written by Bill Finger. The first part of this trilogy was the two page story "The Batman and How He Came To Be" from Detective Comics #33. While only two pages long, it contained all the elements of the Batman origin: the death of Bruce's parents in front of his eyes after a movie, Bruce's oath to avenge his parents' deaths, his training, "Criminals are a superstitious, cowardly lot", and of course, the bat crashing through the window. The second part of the trilogy is "The Origin of The Batman" from Batman #47. In this story, Batman discovers that is parents' killer was Joe Chill, confronts him, and is able to gain a degree of closure concerning the deaths of his parents. The story synopsised above completes the trilogy, revealing more information concerning the death of the Waynes, how Bruce's father influenced him becoming Batman, and brought a greater sense of closure to the Wayne murder case. Bill Jourdain covered all three stories in great detail in Episode 27 of the Golden Age of Comic Books podcast which you can listen to here.

As for "The First Batman" itself, it is undoubtably a classic Batman story. It fleshes out Batman's origins even further and strengthens the bond between Bruce and his father. What was initially inspiration due to a bat flying through a window is added upon, becoming a subconscious inspiration from Bruce's memories of his father. This story is also a lot more serious in tone compared to the stories from this period. Instead of a story adding a member to the Bat Family or Batman visiting an alien world, we see a return to the grim Dark Knight. Armed with new information concerning his parents' death, Bruce is filled with a burning desire to close the Wayne Murder Case once and for all, and it is no laughing matter. While the story is for the most part serious, there is one appropriate lighhearted moment; Bruce enthusiastically cheering his dad on as he lands a punch on one of the gunmen at the ball. For a split second, the mask of Batman is gone, and Bruce is a happy kid again. But only for a moment.

This story has been reprinted in Batman Annual #4, Batman #255, Batman: Secrets of The Batcave TPB, The Best of DC #2, and The Greatest Batman Stories Ever Told (1988).

"City Without Guns"

Issue: Detective Comics #196

Cover Date: June 1953

Writer: Bill Finger

Penciller: Dick Sprang

Inker: Charles Paris

Cover Artist: Winslow Mortimer

Synopsis: The story opens with gang boss Frank Lumardi escaping from the Gotham police via a speedboat. One month later, Bruce and Dick arrive in London, with Bruce hoping to study the crime fighting methods of Scotland Yard. Meeting up with Inspector Deggers, Bruce learns of Scotland Yard's no gun policy and sees that on a wall of crime fighter portraits, Batman and Robin's has been ripped from its frame. Deggers is unwilling to divulge any information concerning the portrait and soon departs when an alarm sounds in Leicester Square. Batman and Robin are quick to follow Deggers, discovering that the alarm was sounded due to the theft of an apparently important briefcase. The thieves turn out to be a gang led by Lumardi, who escape when Batman has to prevent a bus struck by a stray bullet from crashing.

Batman and Robin meet up with Deggers, who informs them that the stolen briefcase contained 8,000 pounds (roughly $20,000). While mulling over what to do next without a Batcave, the Dynamic Duo run into Chester Gleek, England's #1 Batman and Robin fan. Lightly dismissing him at first, Chester insists he shows them his laboratory, which turns out to be exactly like the Batcave. After Robin reads a crime file on Lumardi, Chester leads Batman and Robin (passing a portrait of the Duo) to his garage, which houses a replica of the Batmobile. Using their knowledge of Lumardi's love of horse racing, Batman and Robin track down his gang, but the imitation Batmobile is no match for gunfire. Borrowing a horse, the Duo duke it out with the gang at a wax museum, but lose them due to the Pickwick Bicycle Club riding by.

Batman and Robin return to Scotland Yard to confer with Deggers. The defacing of a statue of Isis appears to indicate Lumardi's next crime, but Batman cannot deduce what it might mean. Then Deggers makes a comment about the upper part of the Thames river being referred to as Isis and Batman is able to draw a connection. That night, Lumardi's gang breaks into a Captain Percy's ship on the Thames, which holds an old treasure chest. Batman and Robin were prepared for the gang, subduing all of them except for Lumardi. After a battle with Lumardi in the Oxford belltower, Lumardi stops cold as three riflemen aim in his direction. The trio turns out to be a campus drill team, with Lumardi ironically being apprehended by guns in a city without them. But what of the portrait of Batman and Robin missing from Scotland Yard? It turns out the portrait was originally donated by Chester Gleek, then stolen by him when he saw it hanging beside such "inferior" detectives such as Sherlock Holmes.

Thoughts: If there was one thing Batman did a lot of in the forties and fifties, it was travel. Whether it was traveling through time thanks to Professor Carter Nichols, around the world, or into outer space, Batman and Robin fought injustice wherever (and whenever) it may be. In fact, there were two giant issues published chronicling the Dynamic Duo's travels. The first, Eighty Page Giant #12 from July of 1965, focused on Batman and Robin's travels to strange worlds. The second, Batman #223 from July/August of 1970, focused on adventures spanning the globe. Both contain a number of fun, fifties Batman cases that take Batman out of his normal environment of Gotham City.

"City Without Guns" is one such story, taking Batman across the pond to merry old England. The background mystery of Batman and Robin's missing portrait is a nice supplement to the Lumardi case. Chester Gleek is a fun, fanboy character, although I have to wonder how he was able to replicate a loose version of the Batcave, including the crime file (I fully admit that a previously published story involving the Batcave, a la "The Batman Dime Museum" from 1955, might clear that up). Lumardi being foiled by the drill club in the end was a clever bit on Bill Finger's part. Dick Sprang, as always, provides classic Batman artwork. My favorite panel in the story is that of Batman after Lumardi sets the bells in the bell tower off; the "Bongs" of different sizes and colors surrounding Batman were quite effective. The only flaw in an otherwise classic fifties story is Bruce Wayne possessing a letter of introduction from Commissioner Gordon for Deggers. It wouldn't take much detective work to connect the newly arrived Bruce Wayne and Dick Grayson to Batman and Robin swinging around London.

*Special thanks to David Morefield for the blog's awesome new banner.

This story has been reprinted in Batman #223, a 64 page giant issue.

"The Fox, The Shark, and The Vulture"

Issue: Detective Comics #253

Cover Date: March 1958

Writer: Dave Wood

Penciller: Sheldon Moldoff

Inker: Charles Paris

Cover Artist: Sheldon Moldoff

Synopsis: On a plane taking off from Gotham City Airport carrying historical artifacts, a hand pops out of a hidden panel on a lifesize globe. Gas pallets are tossed, knocking out a pair of guards, and the Vulture emerges from the globe. He begins stealing the plane's cargo, but is interrupted when another guard passes by the cargo hold's door. Attaching parachutes to himself and his loot, the Vulture makes his escape from the plane while the robbery is reported. Back in Gotham City, the Bat Signal shines in the sky and the Dynamic Duo respond. After hearing the police report, they deduce that the Terrible Trio has struck again and split up: Batman takes off in the Bat-Plane while Robin drives the Batmobile. While flying the direction where the Vulture was last seen, Batman recalls a previous encounter he and Robin had with the Terrible Trio. The Trio had used a drill machine to get into Gotham Bank's underground vault. While pursuing the Trio through an underground tunnel and would have been taken out by a bomb if they hadn't ducked into a pair of drainage pipes.

Batman comes across the Vulture and the Fox (who came to the location via his drill machine) running towards the bag of loot. Batman flys faster and faster around a giant glass bottle on top of a nearby building until it shatters. Thinking it's the army, the Vulture and the Fox leave the loot behind and escape in their drill machine. Batman and Robin track the machine in the Batmobile using their "Sonic Range Finder", stopping at the shoreline. They dive into the ocean equipped with aqua lungs and find the drill machine going into an eel machine built by the Shark. When Batman and Robin approach the eel machine, the Shark sends out an electric shock that paralyzes the Dynamic Duo. Only by pulling their aqua lung inflation switches were they able to come up to the surface and save themselves from a watery doom. Back at Gordon's office, Batman looks for a pattern in the Trio's crimes and after recalling the Shark's crime being the first, deduces that the next robbery to be committed will be by a machine of the Shark's design. Batman studies the list of incoming ships and after determining the Trio's next target, comes up with a surprise for them.

At the Trio's lighthouse hideout, the Fox and Vulture note that they have the cargo plans, but not the means to claim the cargo for themselves. The Shark reassures them that he has a plan and retires to complete his next machine. The next day, the Shark's new machine is revealed to be one in the shape of a pilot fish that attaches to the ships hull via a sucker and creates an airtight airlock. They burn a hole in the hull and bring the cargo of Egyptian artifacts through the airlock into their ship. Upon returning to their lair, they find that the sarcophaguses they stole contain not mummies, but Batman and Robin wrapped head to toe in bandages. Batman and Robin knock out the Shark and deal with several of the Trio's traps. They stand off with the Fox and the Vulture at the top of the lighthouse, where the Vulture is about to attack them with his robot vultures. Batman hits the lighthouse control board with a batarang, plunging it into darkness, and Batman and Robin take down the remaining members of the Trio.

Thoughts: Before reading this story, my only experience with the Terrible Trio had been their universally panned episode from Batman The Animated Series. Their animated incarnations were a trio of arrogant, wealthy, unlikeable frat boys who stole because they were bored. The original comic book version of the Trio is leaps and bounds ahead of them. They're a trio of criminals each adept at a certain means of committing a crime, which is a pretty clever reason to team up. The Frat Trio broke into the homes of the rich with a grappling hook, while the original Trio had giant drilling, eel, and pilot fish machines to rob banks and steal precious historical artifacts. The comic book Trio also has a swingin' lighthouse hideout. On the top level is the Vulture's "nest", the next level is a kitchen, the third is the Fox's "den", and the bottom level is the Shark's "cave" which also has an entrance to the ocean. The best part about the diagram of the Trio's lair in the story is that the Vulture's "nest" shows him playing with a model airplane.

The Batman stories during the fifties were aimed fully at kids and this story fits the bill perfectly. You've got giant machines, Bat gadgets, Batman and Robin disguised as mummies, hideout traps...it's the kind of story a kid would have an absolute blast reading. Looking at it through more critical eyes, a few questions leap out at you. Why did the Vulture and the Fox think the army was after them? Did they think they were really that terrible? How did Batman know the exact ship the Trio were going to hit? And after the Trio's raid, there's a giant gaping hole in the ship. Gordon was on the ship and we see him at the end of the story, so everyone must have survived, but how? Overall, this is one of those fifties stories that is a lot of fun if you have your suspension of disbelief firmly in place.

This story has been reprinted in Batman #176, an 80 Page Giant issue.