In Memoriam: Adam West

So, it's been a while, huh? And while I'm preparing to return to The Matt Signal on a more regular basis, an event this past weekend has made me shake off the dust and write a little something in tribute to the first Batman that many of my generation share.

I can't remember if I had seen the classic Batman TV series before I received Who's Who in the DC Universe #2, the first comic I was ever given, the issue that spotlighted most characters whose name began with a "B." I know I watched it in syndication pretty regularly from when I was a kid through when it stopped being syndicated, sometime after Batman Returns, but by then I had Batman: The Animated Series and I hardly noticed. But I know that gaudy, lively, energetic series was part of my formative years, and you can't talk about that series without talking about Adam West, it's Batman, who passed away over the weekend at the age of 88.

 People have very different opinions of the Batman TV series. Glen Weldon, the NPR comic book critic who wrote the excellent book on Batman's history, The Caped Crusade, said in an episode of NPR's Pop Culture Happy Hour (exactly which one I alas cannot recall, and pardon the paraphrasing if you read this, Glen), that most people go through three phases when it comes to that series: as kids they love it as an adventure series, as teenagers/twenty-somethings they hate it because it's so campy and doesn't take Batman as a SERIOUS CHARACTER, and as adults they learn to love it again as a piece of crazy camp art. And a good part of that camp artistry comes from Adam West's straight faced performance as Batman.

It would have been easy to play Batman for laughs, to make him a goof or a joke, but producer William Dozier didn't want that: he knew that having a Batman who was this rock of deadpan seriousness in an absurd world is what would sell the series. And Adam West pulled that off perfectly. He delivered every line with a degree of gravitas. He only winked at the camera when it was written to do it, like when he was pulling the wool of his secret identity over the eyes of the sweet (if a bit dim) Aunt Harriet, Commissioner Gordon, and Chief O'Hara. He was dashing as Bruce Wayne, heroic as Batman, and while the villains often tried to steal the show, he held his own (which is more than can be said for other live action Batmans).

I think everyone who has come to appreciate the madcap genius of the series has favorite episodes. While the Joker is my favorite villain in Batman history, when it comes that this series, Burgess Meredith's Penguin is the performance that always grabs me, and the two parter, "Hizzonner the Penguin/Dizzoner the Penguin," where the Penguin and Batman run against each other for mayor of Gotham is clever and has Batman give great speeches about the importance of elections and government (and the concept of Penguins mayoral ambitions that has been recycled in Batman Returns, Gotham, and the tie-in comics to Batman: The Animated Series). Joker does pop up in the favorite, "Surf's Up! Joker's Under!" where Joker and Batman compete in a surfing contest, which is as delightfully absurd as it sounds. There are more episodes than I can name, with the Catwomans, the Riddlers (although, as much as I love John Astin in Addams Family and Night Court, Frank Gorshin is the truly memorable Riddler, while Julie Newmar and Eartha Kitt are equally memorable as Catwoman), and numerous other villains that spring to mind, but Adam West's Batman always stood against the criminals of Gotham.

And if I'm talking about Adam West and Batman, I need to briefly discuss the feature film tied into that series. Not only did it have the most spectacular scenes that ever were tied to West, including Shark Repellent Bat Spray, dehydrated pirate goons in the Batcave, and a bomb on the boardwalk, it also allowed West to do some real acting. Early in the movie, he becomes smitten by a reporter (who is clearly Catwoman in disguise to the viewer), and throughout the movie he romances her, and when it is revealed she is Catwoman, he genuinely looks pained by the betrayal. It's a nice bit of acting, and proves that West is more than just a stiff, cardboard cut-out of an actor, but is actually trying, and acting as Batman.

Sadly, most of the stars of this classic bit of superhero lore have now passed on. Burt Ward (Robin) and Julie Newmar (the first Catwoman) are the only regular or recurring members of the cast who are still with us. Adam West was a fixture at conventions, always out talking to his fans and reminding them of when Batman would dance (I never met him myself, and admit to having heard mixed opinions on how he was with fans, but it is undeniable he was an ambassador for his own take on Batman, and had an easy smile when someone came up to him). Towards the end of his life, I know he was working on a second direct-to-DVD animated film, a sequel to last year's charming Batman: Return of the Caped Crusaders, voicing Batman in the lost episode featuring Two-Face, which was adapted into a comic a couple years back, and would have William Shatner voicing the villain; I am unsure if the recording was completed before Mr. West's passing, but I hope it was, as it would make a great final testament to his lasting impact as Batman.

So, goodbye Adam West. Safe journey to whatever might be next, and may you never have one of those days where you just can't get rid of a bomb.

Reviews of Comics from Wednesday 12/17

Batman '66 #30
Story: Lee Allred
Art: Mike Allred & Laura Allred

All good things must come to an end, alas, and this week marks the final issue of the regular Batman '66 title. But its a phenomenal way to go out. This issue, written by Lee Allred with art by his brother and sister-in-law Mike and Laura Allred, is everything you'd expect from the wonderful oddness attached to the Allred name, as the story finds a way to put all those random funky images from the opening credits from the TV show and works them into a story. The basic plot is simple: Joker, Penguin, and Catwoman have set up a convention for all of Gotham's villains. All except Riddler, who they're just sick of because he "might as well be working with Batman" giving away their crimes. So, of course, Riddler decides to send clues to the police about the location out of spite, so this might not have been the best villainous plan. Arriving at the movie studio where the convention is taking place, Batman and Robin work their way through a gauntlet of villains, with the different images from the credits representing the defeat of the villains. The Batmobile gets a remote controlled spotlight moment, and Batgirl sweeps in for a last minute save. Pretty much every villain from the series, and most of the new ones introduced in the comic, pop up in the villainous crowd scenes, and some make their first appearance, like King Cobra (who's in the opening credits but never in the show or this comic before) and (despite being unmasked the whole time), the Terrible Trio, If that weren't enough cameos, as Batman and Robin climbing the studio, they find a legitimate meeting going on, and out of the window pop... Perry White, Lois Lane, and Jimmy Olsen right out of the classic George Reeves Superman TV series, and the final press conference also happens to have Clark Kent, Billy Batson, Jack Ryder, Vickie Vale,  Nelli Majors (a reporter from an episode of the TV show), and "Ritt Bried" since they can't use Britt Ried, the Green Hornet, without the license. It's a great send off to a fun series. This isn't the last we'll see of this universe, with Batman '66 Meets the Mn from UNCLE starting this week, and Batman '66 Meets the Avengers (the Steed and Peel ones), already announced, but for now, I'm glad this big, flashy issue is the final on.

Grampa Simpson's Unbelievable Adventures #1
Story: Max Davison
Art: Hilary Barta, Andrew Pepoy, & Art Villanueva

The Simpson comics One Shot Wonders series have produced lots of interesting and fun comics. While many have been anthologies featuring that issue's spotlight character, but others have been more experimental, such as the McBain one shot that was a comic that folded out into a poster. This issue, focusing on Abe "Grampa" Simpson, is one of those more unusual issues, as it is what us kids of the '70s and '80s know as a "Choose Your Own Adventure" story, where at the bottom of each page, you get to choose what happens next by turning to one page or another. You'd think with only 22 pages to work with, that would really limit the potential, but it works exceptionally well. If you've ever watched The Simpsons, you know that Grampa has a habit of telling some... colorful stories (and by colorful I mean completely crazy and rambling), so if there's any character that works with this format, it's him. Page one has Grampa in a spaceship, and from there it just gets crazier. Depending on your choices, Grampa can fight aliens or pirates, become a jazzman, take up his professional wrestling career one more time, become a wheelman for Fat Tony, and more. It's all the fun of "Choose Your Own Adventure" with none of the logic!

Lumberjanes #21
Story: Shannon Watters & Kat Leyh
Art: Carey Pietsch & Maarta Laiho

Every issue of Lumberjanes is a collection of fun, character, and excitement; there are very few other comics on the market that pack more all ages wonder into its pages. Opening with the greatest beach volleyball scene ever in comics, and maybe in pop culture, what starts out as seemingly an easy merit badge accomplishment for April turns into a crusade when it turns out every one of the Roanoke Cabin has to succeed before any of them get the badge, and April, still stinging from last arc where her she put her own goals above her friends for a while, feels like councilor Seafarin' Karen has implied our lead aren't a good team, and she has to prove her wrong. And because this is Lumberjanes, it turns out Karen's boat has been stolen by selkies (mythological women who can turn into seals and back), and so April figures the best way to prove to Karen that they're a great team is to help Karen get her boat back. And so Roanoke Cabin split up: Jo, April, and Mal go to work out a plan with Karen, while Molly and Ripley, along with Ripley's raccoon friend Bubbles, head into the woods to find the Bear Woman, figuring they might learn some more about shape-shifters from her. The Bear Woman is her usual... pleasant self, grumping at Molly and Ripley and indicating there's a difference between what she can do and what the selkies can. Meanwhile, we learn the selkies believe Karen stole one of the seal skins that allows one of their friends to turn back into a seal, something Karen denies, and won't return the boat until they get it back. And we also learn a secret about Karen at the end of the issue I won't reveal here, but I have to say: with two weeks left in the year, Seafarin' Karen is the character find of the year for me. She's gruff, tough, has scars and wears an eyepatch, and that last page reveal? Well, read the comic, and if you've read this blog for a while, you'll know what I think is so awesome. The charm of the issue is in the determination our leads show, and how they really want to help Karen. We see lots of little character beats, like Ripley being excited to hug a seal, which shows that she is just the most innocent and wide eyed of the cast, a reminder of Mal's fear of the water, and April really trying to show her friends that she learned her lesson. I can't say enough good things about Lumberjanes; it's a comic about friendship and mythological monsters, which is a combination that works beautifully.

Pinocchio Vampire Slayer Versus the Vampire Zoo
Story: Van Jensen
Art: Dusty Higgins

It really is one of those ideas that's so perfect, you're surprised nobody thought of it before: Pinocchio, who's made of wood and whose nose grows every time he lies, is made to slay vampires. Just break off the nose and instant stake! After four graphic novels, the Pinocchio Vampire Slayer series ended last year, and I'll be honest, it's waiting for the full recommended reading treatment, because it's great. This one shot, though, is a lost chapter, based off what felt like a throw away line in one of the later volumes about a vampire gorilla. The title really says it all about this comic. Pinocchio, along with his friend Carlotta, a group of other living wooden puppets, and the blue fairy and the woodsman Cherry (this book draws from the original Carlo Collodi novel, not the bowdlerized Disney version), run across a zoo populated by vampire animals, led by a glasses wearing, intelligent gorilla; basically it's Grodd if he were a vampire, which is pretty damn terrifying. If you've never read any volume of the series before, this issue gives you a good feeling for who Pinocchio is, as well as all the commedia dell'arte influenced puppets of the Great Puppet Theater. If you're looking for a fun comic that has a lot of action and some creepy vampire animals drawn beautifully, well this is a comic that was made for you.

Reviews of Comics from Wednesday 8/26

Batman '66 #26
Story: Jeff Parker
Art: Jesse Hamm & Kelly Fitzpatrick

OK, I admit it: I have absolutely fallen in love with Jeff Parker introducing more modern Batman villains into the universe of the classic TV show. This issue, in case you couldn't tell by the cover, introduces the '66 version of Poison Ivy. Side note: I've read in various places that Ivy was created in the comics as a character to be used on the show, but the show was cancelled before she could transition over. If this is true, and while I imagine it is, I haven't found any primary sources to confirm it, it makes an interesting full circle to have her appear in the comic. The plot is pretty much what any plot of the Batman TV show or this comic is: criminal arrives in Gotham and Batman must thwart her or him. But it's the details that sell the comic. One thing I really enjoyed was how the story ties Ivy in with a foe created for the show: Milton Berle's Louie the Lilac. Louie had all these deadly plant hybrids, so saying that he purchased them from Ivy makes absolute perfect sense. Ivy herself is more playful and lighter than her traditional comic book counterpart; this is much more the thieving criminal Ivy of the 60s and 70s than the eco-warrior Ivy that Batman: The Animated Series created. Artist Jesse Hamm gives her some really great body language, with a couple panels of her moving that makes me think he envisioned her as moving like a dancer, with big kicks. Parker wrote her with a southern accent, something that hearkens back to her original appearances in the comics (thanks to Jeff Parker for replying to my tweet about this). The middle of the issue also had a cliffhanger moment that felt perfectly in line with the best cliffhangers of the show, with Batman and Robin about to be devoured by Ivy's Jupiter Flytrap (because Jupiter is a big planet, and this is a huge flytrap, naturally), which has a great joke about Robin talking about taking up the mantle of the Bat and Batman totally telling him to back off in that funnily passive aggressive way only Batman '66 can. Even if this isn't the Bruce Wayne of my heart, it's nice to have Bruce popping up in couple places as Batman while Jim Gordon runs around in the Bat armor over in the main DCU (which is a good story, but I need my fix of more traditional Batman). If you're missing some Bruce Wayne Batman, this is good stop to make while we wait for his return elsewhere.

Hellboy in Hell #7
Story: Mike Mignola
Art: Mike Mignola & Dave Stewart

Hellboy's back! Whoo-hoo! There are some comics where massive gaps between issues kill momentum and make you frustrated, but Hellboy, in any of its myriad forms, is not one of them. Mignola keeps the premise of the series simple and direct, and so when you come back in, you're back at home, and it feels good. This issue opens with Hellboy... unconscious I guess is the right word, even though he's dead he still seems to be able to slip in and out of consciousness, where he has a vision of Alice, the girl he might have loved if he had more time, and the world tree that she says he left behind in Enland upon his death. He awakes in Hell, found by two doctors who say he has an ectoplasmic parasite, and they lead him to a third doctor, Dr. Hoffman, who they say can aid him in freeing him of the parasite. But because nothing's ever easy, Hellboy finds Dr. Hoffman on trial. Hoffman gets off, but Dr. Coppelius, who is the plaintiff, is pretty pissed about it. Dr. Hoffman is able to help Hellboy, but not cure him before Coppelius, whose rage has turned him into a giant rage monster comes after Hoffman. Hellboy in Hell is a book you experience as much as read, and you just have to let it wash over you. The plot doesn't reflect half of what's going on in Mignola's incredible art, and with the way the book is written, with flashes of other things happening, and communicating with Hellboy, a synopsis doesn't work. The puppet theatre that Mignola used back in issue 1 is back, now performing the witches from Macbeth, which is a great visual. And it wouldn't be Hellboy without a touch of bizarre humor, in this case part of the backstory of the rivalry between Hoffman and Coppelius has to do with a golem who's obsessed with fish. If that line doesn't sell you on this story, well, Hellboy probably isn't for you.

Princeless Book 4: Be Yourself #3
Story: Jeremy Whitley
Art: Emily Martin & Brett Gruning

Hey, I don't think I write about enough Jeremy Whitley comics last week, so I'm doing another one this week!  We're into the third issue of the new volume of Princeless, the story of Princess Adrienne and her friends attempting to rescue her sisters from the towers her father imprisoned them in, and things are going about as well as usual. Adrienne and Bedelia are travelling across a swamp to find the tower of the gothiest princess in all the land, Angoisse, while her dragon, Sparky, is staying to help defend a tribe of goblins from a monster called the Grimmorax. Before the issue is done, Adrienne will arrive at her sister's tower and Sparky will defeat the Grimmorax, but what struck me in this issue was a consistency of theme; specifically the theme of the use and abuse of power. The goblin plot reveals that the Grimmorax was actually purchased by the leader of the goblins to be a threat to his people that he could defend them against, thus cementing his leadership. We also learn there's a monster farm, where nobility goes to purchase creatures like the Grimmorax (and Sparky, as it turns out), to serve as guardians. The goblin king is breaking the tacit agreement between a ruler and his people by not ruling for them, but putting his own desire to be ruler over the benefit of his people. This isn't too far off what King Ash has done to his daughters (also, is it just me, or are all goblin rulers jerks? Jareth from Labyrinth, Xergiok from Adventure Time, and now this dude. Not a line of work you want to get into, unless you're already a jerk I suppose). At the tower, we get to see Angoisse and her vampire boyfriend, Raphael. Raphael comes off as this slick, mannerly prince type, but when he realizes the huge bounty on Adrienne's head, he asks Angoisse to drug her so he can bring her to King Ash and collect. He actually uses the, "If you really love me, you'll do this," argument, which is the absolute worst, and an abuse of the power two people give each other when they form a relationship. Vampires are rarely good guys, and it's pretty clear Raphael isn't one either. Princeless does a good job of playing with the themes of fairy tales, but also reaches out to more modern issues women, especially the young women who are the target demographic for the book, might face. I'm hoping the final issue of the series let's Angoisse see exactly what kind of guy Raphael is.

We Are Robin #3
Story: Lee Bermejo
Art: Joe Corona & Trish Mulvihill and Khary Randolph & Emilio Lopez

There were rumors last week of DC Comics wanting its creators to stop "Batgirling" titles and go back to more traditional superhero comics. If this is true, it's a real shame, because I've found the two titles I've enjoyed the most coming out of Convergence are two of these less traditional series: Black Canary and We Are Robin. This week's issue of We Are Robin pushes the events of the first two into a climax, as a team of Robins try to defuse the bombs set to destroy the hall of records, while others attempt to halt the riot the people from Gotham Underground has started. We're starting to get more of a feel for various members of the Robin Squad (Robin Brigade? Robin Gang?), and while I like Riko and Shug, it's still Duke Thomas who I find myself coming back to. While appearing in Batman as well, it's here that Duke gets a spotlight. He's a perfect Robin: smart, brave, and willing to do whatever it takes to help those in need. The issue has a countdown clock ticking, as the bombs near the point they'll explode, while Team Robin (there we go! I like that one) work to defuse them while ducking subway trains that pass by the bombs. The tension is high, and Lee Bermejo ratchets it up slowly until the issue comes to its explosive conclusion. Character death is often cheap in comics now, but I feel like the moments at the end, where a Robin sacrifices himself in a vain attempt to stop the explosion, hits home, partially because of the character's youth, and partly because of the nobility of the choice. The moment where the Batman (Jim Gordon) arrives at the riot and orders the Robins to disperse along with the rioters, the moment where they seem to realize that it's not Batman whose drawn them together breaks your heart, and Joe Corona flashes between Robins to show their varied reactions. And while the revelation of who is behind The Nest wasn't shocking to me (I, like many I've talked to, has seen it coming since the series beginning), to see that character's reaction, cements so much of the emotion of this title. I'm hoping that DC gives this book the time it needs to find its readership, because I think it's one of the best books DC is releasing right now, with a diverse and interesting cast, and potential to introduce a lot of new characters to the DCU.

Reviews of Comics from Wednesday 7/22

Batman '66 #25

Story: Jeff Parker (Night of the Harlequin) and Gabe Soria (Bad Men)

Art: Lukas Ketner & Kelly Fitzpatrick (Night of the Harlequin) and Ty Templeton & Tony Avina (Bad Men)

There are very few comics on the racks that are as fun as Batman '66. I've been enjoying how the book has been varying its content, from some issues with full length stories and others with two shorter pieces, and might even be enjoying the letter more; that compactness of story seems to work with these zany Batman stories. This was one of those issues, and featured another modern Batman villain making their classic TV debut. If the cover above didn't give it away, this is the issue introducing Harley Quinn '66, or just Harlequin as she goes by here, in full costume. We'd gotten hints of Harley already, as she appeared as the Joker's shrink who was driven insane by crazy science in an earlier issue, but this is where she escapes from the Arkham Institute, dons a costume and roller skates, and becomes a supervillain. It's a fun story, as Harlequin proves even more unpredictable than Joker, and Batman and Robin have to get creative to bring her to justice. We also get a great panel where Batman says Harley might be a greater threat than Joker within ear shot of Joker, and he clearly has his feelings hurt, which segues nicely into the second story of the issue, "Bad Men," which was the highlight of the issue. Barbara Gordon is working as a temp at an ad agency when Penguin, Riddler, Joker, and Catwoman (The Eartha Kitt version) take the who ad agency hostage so they can find a way to rebrand the villains and get them the attention of Gotham again. Since Barbara can't change into Batgirl, she instead has to use her wits to outsmart the villains. It's a fun story, and again does something I like in these stories, showing the heroes out-thinking their foes instead of just beating them physically. Barbara's victory is perfect, and plays on the vanity of these characters, which is a defining characteristic of each of them in pretty much all their versions; this is why Batman's foes have never banded together like Flash's Rogues for the long term: every one of them thinks they should be in charge. "Bad Men" also features art from Ty Templeton, who has done plenty of these '66 set stories, and whose art has become the style i most associate with the comics. His work is charming and gorgeous, working so well with the 60s. 

Five Ghosts #17

Story: Frank J. Barbiere

Art: Chris Mooneyham & Lauren Affe

I saw a lot of Twitter debate last week about how comics are often credited to just the writer, when the artist or artists often plays as important a roll in creating the book. I've been guilty of not crediting complete artistic teams, something I've been trying to remedy for some time, even before I saw that thread. This is a long way of saying that the new issue of Five Ghosts is a triumph not just of story and words but of art. Frank J. Barbiere does his usual excellent job of giving Fabian Gray, the protagonist of the title who is able to channel the powers of five literary "ghosts" through the dreamstone within him, the words of a dashing adventurer, and devise an exciting conclusion to the current horror arc. But this issue, which is mostly Fabian and Van Helsing fighting a mutated version of Fabian's best friend and brother-in-law Sebastian Windsor and then the man behind the mutation, Dr. Moreau, fives artist Chris Mooneyham time to shine. The battle is stunning, exciting, and flows from panel-to-panel perfectly. There's a particular series of panels where Fabian determines he can use a chandelier to trap the transformed Sebastian that sticks out in my mind as one of the best choreographed sequences I've seen in comics recently. I love the way Mooneyham shows the ghosts as Fabian channels their abilities, and the hideous transformed forms of Sebastian and Moreau will send shivers down your spine. This issue wraps up the third arc of Five Ghosts, and the epilogue sets Fabian on a collision course with The Cabal, the villains who have haunted him since the beginning of the series. I don't know if this is the final arc of the series, but if it is, it's been a heck of a ride, and if the last arc can be half as exciting as this issue was, it's going to be a spectacular conclusion.

Rick and Morty #4

Story: Zac Gorman

Art: CJ Cannon & Ryan Hill and Marc Ellerby

With season two having debuted last night (or this morning, since it was midnight and some people love their semantics) on Cartoon Network's Adult Swim, I think I have Rick and Morty on the brain. If you don't know the show, Rick and Morty was created by Dan (Community) Harmon and Justin Roiland, and is about a mad and amoral scientist (Rick Sanchez) who comes to live with his daughter and her family and takes his grandson (Morty) world/universe/multiverse spanning adventures, mostly for his own amusement and profit. The comic book tie-in are original adventures, and this one-shot story will give you a good idea if you will like the comic and animated series. Rick wakes Morty up in the middle of the night and drags him to an alien world where Rick is basically a carpetbagger, running a plantation on a world that was decimated by a civil war, and he needs Morty to spy on the workers who Rick believes are planning a revolt. Morty quickly comes to empathize with the workers, especially when he learns Rick is the one who started the war in the first place, which shouldn't surprise anyone who has seen the show. I'll be honest, if you want a protagonist who you can like and respect more than ten percent of the time, you should probably move along. Rick is at his best amoral, and often puts others in danger for no other reason than it's the easiest way to do it. Morty is an ok kid, but he's a hormonal teenager, and does, as Rick points out, often have "wienerbrain." But this issue ends with a scene that's kind of touching and shows that small fraction of the time where you see a decent guy in Rick. Or you think so until it all goes downhill again. The comic does a perfect job of capturing the joke a minute pace of the source cartoon, as well as its warped sense of humor. This issue's backup story spotlights Jerry, Morty's dad and Rick's son-in-law, and a normal day in his life, and how Rick just sort of... well, you'll see if you read it. It's a nice insight into the character who is usually played for nothing but laughs. So if you like the cartoon, or other similar ones like The Venture Bros., you should give the comic a shot.

And Dan Grote continues our love affair with the new Archie Comics with this crossover that makes Archie Vs. Predator (which ended this week in bizarre and hilarious fashion as well) look plain normal...

Archie vs. Sharknado

Story: Anthony C. Ferrante

Pencils: Dan Parent

Veronica’s dad gets his arms bit off by sharks, followed by the rest of him. Sabrina the Teenage Witch’s limbs are also bitten off, as she tries to cast a spell. A beloved teacher is eaten.

Yes, even in Riverdale, when a Sharknado comes to town, there is a death toll.

The name of this comic is Archie vs. Sharknado, but the real heroes of this double-sized one-shot, the Ian Ziering and Tara Reid, if you will, are Betty and Veronica, who first encounter the titular shark storm on a trip to Washington, D.C., ostensibly the same one from last week’s Syfy original movie Sharknado 3: Oh Hell No. The two quickly find themselves improvising new ways to kill sharks, use their clothing to survive falls from great heights and steal a motorcycle and a helicopter, in that order.

If the comic hews closely to the conventions of the Sharknado trilogy, that’s largely because it’s written by Anthony Ferrante, the director of the movies, the latest of which bowed the day of Archie vs. Sharknado’s release. Meanwhile, classic Archie penciler Dan Parent gives it that pre-reboot Riverdale look.

Ridiculous moments abound. Archie and Cheryl Blossom climb onto a boat using a staircase made of unconscious sharks. Jughead bites a shark that in turn steals his trademark hat. Veronica shoots flaming arrows with a crossbow. Josie and the Pussycats sing the Sharknado theme song. Svenson the janitor reveals a shed full of chainsaws (and a tractor equipped with a nitro-boost button) that he keeps “because the trees are taking over Riverdale.” Principal Weatherby has a war flashback. Archie chainsaws Cheryl out of a shark, just like Ziering did in the first movie. And perhaps most incredulously, A TEACHER LETS HIS STUDENTS BUILD A BOMB IN POST-COLUMBINE AMERICA!

All the while, sharks slaughter mercilessly and are slaughtered mercilessly in their turn. Shark innards rain from the sky and pile up on the ground, and teenagers run around soaked in blood and wielding chainsaws, blades and whatever else they can get their hands on. If Archie is an all-ages-friendly company, they sure do like messing with readers’ heads when the opportunity arises.

Final note: As sharks rain down from the sky, there’s a running discussion between Riverdale’s biggest nerd, Dilton, and his girlfriend about classic disaster-movie tropes and whether Dilton himself is too important to die or just disposable enough to be offed in a way that would enrich the plot. It very much reminded me of the discussion Henchmen 21 and 24 had during Season 3 of The Venture Brothers in which 21 declares “We’re, like, main characters” … and then 24 dies in an explosion at the end of the season. I’m not saying that’s what happens to Dilton, but I’m also not not saying it.

Reviews of Comics from Wednesday 5/27

Batman '66 #23
Story: Jeff Parker
Art: Brent Schoonover and Giancarlo Caracuzzo

Nearly two years into its run as a print comic, it's nice to see Batman '66 take a few chances. While the early issues focused on established villains in the universe created by the TV show, since the publication of the lost episode that introduced Two-Face into the universe, we've begun to see other Batman villains from the comics who never appeared on the show, including Harley Quinn and Lord Death Man. This issue is two short stories, both written bu series regular writer Jeff Parker, with two of Batman's more monstrous foes. The first story, drawn by Brent Schoonover, introduces Solomon Grundy, whose origin is tied to that of Marsha, Queen of Diamonds, one of the series's original villains. It's weird to see this universe and actual magic tied together, as so much of the classic series was tied up in funky 60s, but it's hard to do the walking dead and use science. Still, it's a scientific solution Batman comes up with to stop Grundy, even if it's as pseudo-scientific as Bat shark repellent. A highlight of the story is that Schoonover works homages to classic covers and Batman images into panels, one especially cool one being to an old Aurora Batman model I remember assembling as a kid (a reproduction from the 80s, mind, not the original). The second story introduces Clayface, and does a very cool thing of tying him into False Face, a TV villain. It establishes that False Face was Basil Karlo, who was also the original Clayface, and he is given an origin that has echoes of the Clayface origin from Batman: The Animated Series. Artist Giancarlo Caracuzzo draws a monstrous Clayface who never could have existed on the budget of the TV show, or looked good in the effects of the era. And again, as was often the case, for all the biff bam pow action, Batman defeats Clayface using his brain more than his brawn. I'm looking forward to seeing some more Batman villains introduced (we've been teased with Killer Croc and Poison Ivy, so they're on  the horizon), as it adds some nice flavor to a book that's already a lot of fun.

Convergence: Booster Gold #2
Story: Dan Jurgens
Art: Alvaro Martinez

Convergence has ended, and sadly it was more a whimper than a bang. But there were some real high points to the tie-ins, love letters to older versions of characters and their fans. One of those love letters was the Booster Gold series, written by Booster's creator, Dan Jurgens.This issue not only features two Boosters, but his son, Rip Hunter, his sister, Goldstar, his robot buddy, Skeets, and his best buddy, Blue Beetle. While it's still serious, with the older, original Booster dying of an overdose of chronal energy, we still get some fun moments as the other Booster, Rip, and Goldtsra fight the Legion of Super-Heroes, and post-Flashpoint Booster is still as much a goof as classic Booster pretended to be to hide his more serious duties. But it's the scenes between a rapidly aging Booster and Blue Beetle that warmed my heart. We've seen Booster try to save Beetle using time travel, both in the comics and in an episode of Batman: The Brave and the Bold, but here it's a resigned Booster who's meeting his friend when Beetle was in his prime, and Booster treats it as a gift. The two get to talk, and joke, and even though Booster tries to warn Beetle a little about his oncoming fate, he doesn't spoil the time together with portent. In the end, Booster gets to say his goodbyes to those he loves before he goes through a startling metamorphosis that makes absolutely perfect sense if you're familiar with a couple of DC's previous events. It's a bittersweet farewell, but with hints that the new Booster has an important place in upcoming events and the old time travel crew still out there guarding time, there's a glimmer of hope, and hopefully a hearty Bwah-ha-ha to come.

Divinity #4
Story: Matt Kindt
Art: Trevor Hairsine

Divinity has been the most experimental series I've read from Valiant, and it's been a resounding success with me. Matt Kindt talks in the production notes in the back about creating an overpowered character and the importance of knowing how to defeat them, and this issue is about the fall of Abram Adams, the godlike being called Divinity by his followers. Interestingly (and smartly) there is very little combat between the titular character and Unity, Valiant's premier superhero team (although there is a gorgeous two page spread of them assaulting him). Mostly, Unity fights Divinity's followers, who are trying to stop them from interfering with their god while trying a hail Mary to contain Divinity. Meanwhile, with all his power, Divinity has resurrected his girlfriend and daughter, and is talking to them. But it's not the conversation he wants to have. It's a tragedy, as Eve, the woman he loves, tells him that she lived a full life and she wants to stay where she is. it's not a great energy weapon, or brilliant tactics that defeats Divinity. It's his remaining humanity. The series ends on a few different notes, leaving the fate of the character and the world in the air. Unity is unsure what to do with a contained super being who could defeat them with barely a thought, Divinity's followers are ready to declare a holy war to retrieve their savior, and Divinity himself? Divinity has realized exactly how much has changed, both in the world and in himself, but still has some hope in a very human form. This level of introspection is uncommon in superhero comics; so much of post-Watchmen superhero comics plays at seriousness, but doesn't really talk about anything beyond brooding. Divinity explores what it's like to become a being of power in a very thoughtful and human way, something that impressed me greatly, and I'm looking forward to the sequel to see where Abram Adams's journey takes him next.

Ivar, Timewalker #5
Story: Fred Van Lente
Art: Francis Portela

Fred Van Lente can cram more into a comic than pretty much anyone I can think of. In one issue of Ivar, Timewalker, you get a science fiction assault in a space station, a discussion of time travel physics, a fight on a post-apocalyptic world, a conversation at a bar, and all of it is done with humor and character development. The issue opens as a space fleet attacks Oblivi-1, the time/space station that is the headquarter of the villains Ivar has been dealing with in the first arc of the series, only to meet an unfortunate fate. While we do see Neela Sethi, the scientist who has been the... target? Goal? Of everything Ivar, our titular time traveler has done over the course of the series so far, and we see her talking to another version of herself about their scientific goal, the majority of the issue is set in the year 9999, with Ivar trying to recruit his youngest brother, Gilad the Eternal Warrior, to storm Oblivi-1 to rescue Neela. It's pretty standard infiltration and save humanity from monsters, in this case the Nergal Horde, but it's elevated by Van Lente's dialogue. It's not only very funny, but it's staggeringly real. I have two little brothers, and I know how brothers talk and bicker, and Van Lente has it down. Despite Ivar being the eldest brother, it's Gilad who has always been the serious one, the one who takes his responsibilities to heart, but here, at the end of Earth, Gilad is ready to lay his arms down, for once Earth is gone, his responsibility as its guardian is gone too and he can rest. But Ivar's interference lights a spark under Gilad one more time, and he agrees as long as Ivar promises that Aram, the middle brother, better known as Armstrong, isn't coming, something Ivar agrees to without a blink. Cut back to a bar in 2015, where Ivar is talking to Armstrong shortly before he left for 9999 to find Gilad, and we see a familiar scene with a familiar promise. The issue ends with a scene involving the former captives of the Nergal Horde that I don't want to spoil, but it's interesting how both this plot and Ivar's own operate in a circle in this issue. Saying anything more would spoil the fun, and with this title, that's the last thing I would want to do.

Sandman: Overture #5
Story: Neil Gaiman
Art: J.H. Williams III

What more can I say about Sandman: Overture? This is the comic that I most look forward to whenever it happens to come out. It's Neil Gaiman and J.H. Williams working together seamlessly, producing a vision of beauty and a story that is enchanting in the literal sense of the word; I find myself unable to look away from the pages as I read the issue, quietly mouthing the words along with the comic. After being trapped in the previous issue, Dream finds himself in the court of his mother, Night, brought to her by a servant named Dusk. Dusk's "d" name makes me curious is she is another relative of the "d" named Endless, but that is not addressed here. Instead, we see Dream having a family squabble with his mother. Night makes some very valid points about Dream and his relationship with his siblings, but we also see where Dream and Desire get their tempers from. While within the blackhole, Dream deals with family issues, outside it, the Dream of Cats wanders the battlefields of the universe, the ones growing worse due to the machinations of the mad star, and begins to save people, as well as retrieving the lost girl Hope from the afterlife. What exactly the Dream of Cats's plan is remains mysterious, but he's still a cat, so that's pretty much par for the course. Dream escapes the blackhole, naturally, saved by Destiny, his elder brother. The reasoning for this particular rescue us cleverly presented, as it not only works with already established Sandman mythos in a way that it didn't occur to me it could, but gives some personality to Destiny, who has always been the dustiest member of the Endless; he's like Marvel's Uatu the Watcher, bound only to observe, only he actually does only observe. It kind of shows why Uatu was always doing stuff, since it makes him much more interesting. The final scene of the issue takes place on a boat, and here's where I want to call out Williams for his astounding work. Any page is a masterwork, but there's a great moment as Dream boards the boat and his clothes change from the usual flowing regalia he wears into a sailor's outfit that is done with such grace. It's a tiny detail, but those are what makes Williams amazing, he doesn't miss a beat. The designs of the boat and it's crew are similarly astounding. There's only one issue left now, one issue for Dream to bring about the downfall of the mad star that he inadvertently created, and to receive answers to as many of the questions as Gaiman is willing to answer. Because really, this comic is as ethereal as a dream, and whoever gets all the answers they want out of a dream?

Reviews of Comics from Wednesday 11/19

Batman '66: The Lost Episode #1
Story: Harlan Ellison
Adaptation: Len Wein
Art: Jose Luis Garcia-Lopez

I've been enjoying a lot of the Batman '66 comics, both the regular series and the Batman '66 Meets The Green Hornet mini-series, but this particular one-shot was something I've been looking forward to a great deal since it was announced. It has a lot going for it. First, it's an actual unaired concept from the original series that was greenlit but never aired. Secondly, that concept was by Harlan Ellison, one of the greatest living legends of science fiction writing. Thirdly, it features Two-Face, my second favorite Batman villain (and yes, I realize the irony in that), who never actually made it onto the show. It's a really solid story, fitting perfectly with the tone of the classic show. Two-Face's obsession with the number two and his use of the two-headed coin are stressed, which makes him fit in with the gimmick heavy villains of the classic show (you'd think if Gotham would stop having twins princesses with twin jewel encrusted crowns arrive at 2 a.m. at Dock #2, they'd save themselves a lot of trouble). His origin is retold, and it is pretty much right out of the comic, so there is more pathos than with most of the other villains, with the possible exception of King Tut, who had that whole mild-mannered professor alter ego. And Batman winds up defeating Two-Face using his brain, not his fists, which is a touch I like. I also wonder if the treatment for this episode is ever referenced as inspiration for two other memorable Two-Face stories: Two-Face has his base on a sailing ship here, and the legendary Modern Age return of Two-Face by O'Neil and Adams features a set piece on an old ship, and Two-Face's coin landing on edge is a major plot point in the Batman: The Animated Series episode, "Second Chance." The issue is also chock full of backmatter. There's a full copy of the story with no colors or words, so you can enjoy the art by Jose Luis Garcia-Lopez; this guy is a legend for a reason, and the art in this issue shows he hasn't slowed down in the least. There are also some preliminary sketches by Garcia-Lopez, showing the evolution of Two-Face's look. And finally, there's the original treatment, reproduced directly from Ellison's notes. If you're a fan of the classic Batman TV show, even if you haven't tried any of the other recent tie-in comics, this is an issue well worth checking out.

Buffy the Vampire Slayer: Season 10 #9
Story: Christos Gage
Art: Rebekah Isaacs

I hate Andrew Wells. If I could wish one character created by Joss Whedon out into the cornfield, it would be Andrew, the smarmy little git who started out as a villain in season six of Buffy the Vampire Slayer and was "redeemed" and helped out the good guys by the end of season seven. He's an over the top geek caricature who I never felt earned his repentance. Faith, who clearly came from a bad background and who was manipulated by a centuries old evil who played on her issues, she had to go to jail for killing someone. Andrew, who became a super villain (his words) because his friends thought it would be cool and because he was bullied in high school (hands up if anyone who reads this wouldn't fall under the same criteria), and stabbed his one friend because there was a promise of power in it, he gets to shed a couple tears and all is forgiven? I hate the little weasel. So major kudos to Christos Gage for doing something no one else ever has, not even the mighty Joss himself: he got me to care about Andrew. This issue, where Willow faces down an Andrew dead set on resurrecting Tara, Willow's girlfriend killed by Andrew's friend Warren, gives us a view into what makes Andrew tick. And he's confronted with what he does wrong, not just what he did in the TV show, but in the comics too; the fact that Andrew acts for whatever Andrew thinks is best, without really considering others, and that Andrew comes to this realization, finally shows some growth in the character. I like that Gage let Willow be the one who talks him down, because if anyone would know about making a big mistake with magic, it would be Willow. Meanwhile, Buffy and Spike are fighting a tentacle faced soul eating demon, and while there's a lot of coll action here, what we get in the way of character is more important, as we see exactly what Spike thinks of himself and his past, and how he has come to value his soul in a way I'm not sure Angel ever has. Now, the issue's end makes me a little leery of saying exactly how much Andrew has learned from this experience, but still, for a brief glimmering second, I actually didn't want to strangle Andrew. And that took a lot of work, so congratulations.

All the News That Excited Me From San Diego Comic Con

So, like all comic fans, I spent this weekend waiting on bated breath for announcements from Geek Mardi Gras, better known as San Diego Comic Con. And, like most comic fans, I wasn't able to attend. So I relied on sources from around the internet to give me all sorts of cool announcements. And if you aren't one of those people who kept refreshing their browser all weekend, well, here are a handful of announcements that got me excited.

-Ok, I'm going to get one of the biggest reveals out of the way first. The first official image of Gal Gadot as Wonder Woman from Superman v. Batman: Dawn of Justice. At first blush, I wasn't sure if I was impressed. The muted color palette isn't something I'm a big fan of, and is something that I wasn't in love with when it came to Superman's costume in Man of Steel. But since the whole image seems muted and sepia toned, I moved past that and looked at the costume and the image itself, and she looks wonderful (pun intended). She's regal and tough, but not masculine, which is exactly how I picture Wonder Woman. I can't say anything beyond that about the movie, but at this point, my excitement is increasing for DC's big universe builder.

- And while on the subject of DC on film, the announcement that Ra's al Ghul will be the big bad for season three of Arrow is big news for me. Ra's is a villain with a lot of possibility for interpretation, and the producers of Arrow have said they don't want to compete with the vision from Batman Begins, so they're going at him from another angle. Arrow has been consistently enjoyable since the beginning of the series, and has been slowly building a mythology, with the League of Assassins a large part of that. That slow build will hopefully pay off with Ra's making an appearance. Oh, and Brandon Routh appearing as Ray Palmer, better known as the Atom, is exciting too. From appearances in other genre shows like Chuck, it's clear Routh is a stronger actor than Superman Returns showed, and I think he'll be a great addition to the world of Arrow.

- Marvel has been making a lot of announcements the past few weeks that, in a bygone era, would have been Comic Con announcements, things like the new female Thor and Falcon becoming Captain America. And while the announcement of a new series that brings the characters from Agents of S.H.I.E.L.D. into the Marvel Universe isn't on par, PR-wise, with that one, the series being written by modern comics legend Mark Waid, whose Daredevil is still in my top three current Marvel titles, and drawn by a big name artist doing series of done-in-one-issue storieis pretty darn exciting. I think I've made it clear in the past how much I like one off stories, both as a fan and as someone who likes being able to hand any issue of a series to a customer and say, "Here, try this," so if this has the same feel as Warren Ellis's similarly formatted short run on Secret Avengers, than I'm in for it.

- Now, onto another Marvel announcement that I've been mulling over since it came out. As a Star Wars fan, I've been waiting to see what Marvel is going to do now that they have the comics license. And with the announcement of three Star Wars series, it's pretty sweet; Jason Aaron and John Cassaday on Star Wars (set in between episodes 4 & 5), a Darth Vader series from Kieron Gillen and Salvador Larroca, and a Princess Leia mini-series from Mark Waid and Terry Dodson. While I'm a little disappointed and not surprised that all these books are clustered around the classic trilogy (disappointed because there's a ton of other times to play with that won't impinge on the new trilogy, not surprised because this is the most profitable era for Star Wars publishing), I can't argue with the creators. I've already talked about Mark Waid, and Jason Aaron is a writer I've written about plenty. It's the Vader series that has me most curious. Larroca drew some great space stories during his tenure on the X-Men books, and drew plenty of high tech and armor during his time on Invincible Iron Man, so I think he's a good fit. But it's Kieron Gillen that has me very excited. A writer who does great character work as well as high concept sci-fi (see his short lived S.W.O.R.D. series), he was one of Marvels' stable of writers I thought would best fit Star Wars, so I'm pleased to see that he's getting a spot right out of the gate.

- On a note that is tangentially comic related, the Star Wars book panel announced a novel based on an unproduced Star Wars: The Clone Wars script featuring two characters who had a very heavy presence in Star Wars comics. Asajj Ventress was created for the initial Clone Wars short cartoons and was defined during Dark Horse's Clone Wars comics. Quinaln Vos was created by John Ostrander for his run on the prequel set comics, and is my favorite EU comics character (and second favorite EU character of all, right behind Grand Admiral Thrawn). These are two characters of mixed morality who are haunted by their past. They're an interesting pairing that has minimal interactions in their past (and none in the new official canon). I'm happy that these two great characters aren't being forgotten with the focus on the new future.


- DC didn't make many announcements this year, instead focusing on creators expounding on the upcoming work we've already heard about. There was one really cool bit of art shown, the map of the Multiverse devised by Grant Morrison for his Multiversity series (track it down somewhere where you can get better resolution than I can provide). And after I recently talked about Batman '66, I would have had to mention the digital publication of an adaptation of a lost episode, even if it wasn't written by legend in the annals of the bookstore, the comic shop, the Hollywood studio, and the courtroom, Harlan Ellison, and feature the first '66 appearance of my second favorite (pun not intended this time, but willingly accepted) Bat villain, Two-Face.

-Finally,  Image Comics and Dark Horse Comics announced twelve new series each, and there are some from both companies that I'm looking forward to, but two really jumped out at me. As a big fan of the B.P.R.D. and the whole Hellboy universe, it's cool to see the creators that Mike Mignola has brought to work on those books do other work, and two of these series feature that talent. John Arcudi, regular co-writer on B.P.R.D.: Hell on Earth, and James Harren, who has worked on his share of arcs on that title, give us Rumble from Image, featuring a scarecrow barbarian. And Tyler Crook, previous regular artist on B.P.R.D. and who drew the excellent Bad Blood mini-series from Dark Horse earlier this year, returns to that publisher, this time teaming with Sixth Gun and Helheim writer Cullen Bunn for Harrow County, a spooky tale of a girl with strange powers in a haunted wood and a town that seems to want her dead. I like Bunn's superhero work for Marvel, but when he's doing his creator owned horror books he dazzles, and Crook is the perfect artist for something like this.

And as one final, non-Comic Con related note, friend of the blog Michael Calia, one of the guys at the Shut Up Kids podcast (celebrating fifty episodes this week), who writes for the Wall Street Journal, wrote a piece for their Speakeasy blog about what to do if you're a first time shopper in a comic shop, and yours truly is quoted, so go check that out too!

Recommended Reading for 7/11: Batman '66

On an episode of NPR's Pop Culture Happy Hour, comic book scholar and critic Glen Weldon talked about the 1960s Batman TV series, and said something very interesting (pardon me as I paraphrase). He said fans (modern ones anyway) go through three phases when it comes to Batman if you're a Batman fan. When you're a kid, you love it because it's big and loud and crazy and fun. When you hit your teens/20s, you hate it because you're viewing it as making fun of this thing that you love. And when you grow up, you look at it as the piece of pop/camp art that it is, and you see the fun again. Unfortunately, so many of today's fans remain stuck in that second phase. Me? I have come to really appreciate the craft of the series, and with the announcement of a DVD/Blu-Ray release of the series on November, and this past weekend's Fourth of July marathon on IFC, I thought it was time to talk about the current Batman '66 comic, with an eye on talking more about the show itself when the DVDs hit.

Batman '66 is one of DC's digital first comics, but I read it in physical form (someday I'll probably talk about why I have yet to embrace digital comics, but that's a whole other topic), and when it was first announced, I was skeptical. Would this be able to work without the jaw-droppingly earnest performances from Adam West and Burt Ward and the manic performances of the various actors portraying the villains? Or would it come off as too corny? Seeing Jeff Parker as the series principal writer helped assuage me, and by the time I read issue one, I was pretty well sold, and each issue has sold me further. Looking back over the past year, I was surprised to see I hadn't actually reviewed an issue yet, and so I thought the best way to remedy that was to do this entire feature.

Batman '66 is a pitch perfect reminder of what makes the Batman series from the 60s memorable and classic. Batman is square jawed and seems to know pretty much everything. Robin is genuinely surprised by everything. Alfred is the loyal retainer, Aunt Harriet is confused and always underfoot, Batgirl is awesome (Yvonne Craig's Batgirl was my first TV crush. Don't judge me!), and the GCPD desperately needs Batman. And the villains? Oh the villains! Plus the plots are wild and convoluted, yet simple enough for a kid to follow, the set pieces are gorgeous, and you get at least one, if not two stories in each issue!

The stories all are perfectly suited to the tone of the series. From a story of Penguin and Mr. Freeze driving a giant iceberg into Gotham Harbor and having it declared an independent nation or to a team up between Joker (always with a hint of Cesar Romero'ssignature mustache beneath his make-up) and Catwoman (and yes, by the way, some stories have featured the Julie Newmar Catwoman, and some the Eartha Kitt one), the stories are fun adventures that are appropriate for all ages. And there are stories featuring not only these classic comic book Batman rogues, but of course the rogues that originated from the show. Bookworm, the Minstrel, and the Siren all pop up, and so do the most famous TV originated rogues, King Tut and Egghead. There's a fun Egghead story is issue three, and issue eight is a King Tut feature, dealing with time travel to ancient Egypt. It's great to read such fun stories that fit so perfectly with this era of Batman.

Another fun aspect of the series is that Parker is bringing in elements from more modern Batman comics, but giving them a '66 twist. The Arkham Institute has appeared as the home for the villains who Batman brings in. The story in issue three tied the Red Hood into the Joker's background, and we met his doctor at Arkham, Dr. Quinn, who has appeared a couple times, and in a recent issue became an accomplice to the Joker, although not in the same way as the comic. And my favorite nod is in the King Tut time travel story. One of King Tut's thugs is a large, hulking guy named Waylon, who drinks too much of an extract that is said to give him the tough hide of crocodile. He runs off before the transformation is complete, but I'm hoping this will mean that we will soon see a '66 version of Killer Croc.

Jeff Parker has written the lion's share of the series, but other writers have joined in the fun, including Tom Peyer and Art Baltazar and Franco. And along with the campy and fun stories, the varied artists on the book have all provided tonally perfect art. Colleen Cover's Batgirl story, featuring her fighting the Eartha Kitt Catwoman is a favorite, but Jonathan Case's art from issue set the tone for the rest of the series, and artists like Ty Templeton, Joe Quinones, and Craig Rousseau have all contributed some great art. The Mike Allred covers are always a treat, and always serve as perfect teasers for the stories within.

I understand that Batman '66 isn't going to be to everyone's taste. Some people really don't like these simple, light tales of a very different Batman than the one we've gotten since the O'Neil and Adams run in the 70s. But everyone should really try an issue. The creators are doing something different and fun with a character who has proven infinitely malleable. And the craft is worth the price of admission. Plus, you get to see what the writers come up with for Robin to, "Holy!" each issue, and that's some pretty great fun all on its own.

Batman '66 is released monthly at your local comic shop, and digitally through your favorite comics apps. Aside from the current ongoing, there is a mini-series, Batman '66 Meets the Green Hornet from writers Kevin Smith and Ralph Garman and art by Ty Templeton. The first hardcover collection of the series, collecting issues 1-5 is currently available, with a paperback collection released this fall just in time for the DVD release of the series.