During the height of the British Invasion of American comics during the 1980s, new and once obscure writers, artists and creators found themselves in the limelight and some of them have never left it. Alan Davis got his breakthrough at 2000AD and Marvel UK, working on characters like Captain Britain and D.R. & Quinch, both with Alan Moore. He quickly rose through the ranks and once he teamed up with Moore once again for Miracleman, his rise was unstoppable. Although his first Batman work was actually in Batman and the Outsiders (also by Barr), taking over from the great Jim Aparo, it was when the title was cancelled that both he and Barr found themselves moved to Detective Comics, DC’s most prestigious and oldest title. To me, this run is the end of a period of Batman, one where the plots aren’t afraid to be ridiculous. But it is also the beginning of a time when characters started to become more realistic. Beforehand, the emotions of Batman and his friends were usually hidden. Barr, with the help of Davis’s great art, transforms the characters, strangely making this both into the end of an era and the beginning of something new, with Alan Grant and Norm Breyfogle taking over when Barr leaves, completing the process of modernisation of Batman in Detective Comics…
This will be the first of three reviews covering Alan Davis’s Batman stories, all written by Mike W. Barr. Detective Comics 569-574 was published from December 1986 to May 1987. Detective Comics 572, entitled The Doomsday Book, was an anniversary story, featuring art by Davis and Neary along with Terry Beatty, Dick Giordano, Carmine
Infantino, Al Vey and E.R. Cruz. All inks over Davis are by Paul Neary. Lastly, I have read these stories in the Legends of the Dark Knight: Alan Davis hardcover.
Catch As Catscan/The Last Laugh --- Written by Mike W. Barr with art by Alan Davis and Paul Neary
As Barr begins his short, but very readable run, his first choice for the main villain is suitably the Joker. It is probably the best choice as it got people interested in buying his run. With the exception of the anniversary issue later on, every story in Barr’s run features an iconic villain or two. It is the best way to order a run which is lacking in any overarching plot. Anyway, Barr throws us right into the story with Batman and Robin taking out some of Catwoman’s thugs. Since when did Catwoman have hired help? Anyway, Catwoman takes out her own men, stating that she heard that they would be committing a robbery without her. Although she tries to seduce Batman while Robin, about twelve years old, watches embarrassed, Catwoman leaves when Batman finds it impossible to convey his feelings for her. Meanwhile, the Joker and his men are strapped for cash due to the lack of work they have found. But the Joker
laughs hysterically when he comes up with a plan involving Batman, Robin and Catwoman. Sometime afterwards, Commissioner Gordon contacts Batman and Robin, who is annoyed to find Catwoman waiting for them. Why would Robin be annoyed? Maybe Fredric Wertham was right. Anyhow, Gordon shows Batman a clue from the Joker and together, the team works it out. This is very much an aspect of what Batman stories were like in the 1970s and early 1980s, there was quite a bit of standing around and working out a clue. But, not long afterwards, Batman, Robin and Catwoman find the Joker and his men at a library, easily taking them out. However, the Joker manages to escape with Catwoman, who he knocked unconscious. Then, one of the Joker’s crazy henchmen shoots the dynamic duo with a paper mache gun, trapping them. As time passes, they obviously get out, but at the same time, Dr Moon, an evil doctor hired by the Joker, explains his theory that man is simply an animal and that free will is a myth. Using an electronic device on Catwoman, he manages to painfully remove free will from her, making for an excellent ending to the first part. The second part begins rather differently, with Batman and Robin at a dodgy night club asking for information about the Joker’s whereabouts from its owner. This part of the story is actually very entertaining, not just because of Robin’s interaction with the people in the club but also because of how easily Batman manages to take out Moose, a rather stupid henchman, by tricking him that his shoe laces are untied. While Batman learns of the Joker’s whereabouts, Catwoman’s conversion is finished, with the Joker asking her who Batman really is. She tells him and he laughs manically. Just outside, Batman and Robin hear the laughter and enter, taking out the Joker’s henchmen using giant 8-balls and other large toys. When Batman appears, Catwoman doesn’t recognise him. The Joker then takes her in his Jokermobile, with Batman attempting to catch them. But, when he gets close, the Joker orders Catwoman to attack Batman, which she does. With the Joker and Catwoman gone, Batman confronts Dr Moon, who states that only he can reverse what has happened to Catwoman. Dr Moon’s character is rather strange. He really appears out of nowhere. He has appeared in several other titles beforehand like Wonder Woman and Hawkman, but he appears as if we should know him. This is the only story he’s in that I’ve read and by the second part, he doesn’t appear much at all. Anyway, leaving Dr Moon, Batman and Robin believe that the Joker is turning Catwoman back to her criminal ways, making Batman remember that in Gordon’s office, there was a newspaper clipping about an heiress from the Benson family being in a trance. Meanwhile, in the Benson apartment, the Joker seems to believe that one of the Benson’s is Batman as Catwoman told him. However, as the Joker begins to threaten the family, Catwoman fights back as she isn’t a killer. Batman and Robin then appear, saving the family and taking out the Joker, with Catwoman disappearing and seemingly going back on her own to her old criminal ways. In anger, Batman beats the Joker, but Robin stops him. Happy that they saved the Benson family, the dynamic duo leave. It does make you wonder why Catwoman told the Joker that one of the Bensons was Batman. Maybe she remembered the newspaper clipping too. Regardless, this is a strong starting story. Barr writes Batman excellently, particularly with Robin. That really determines the mood of the story, as when they are together, the mood is usually lighter and rightly so. I also think the ending is very good, especially as Catwoman doesn’t recover and she seemingly goes back to being a criminal. Overall, despite some problems like the puzzle solving which sort of date the story, a very good start.
Story: 9/10
Art: 8/10
Fear for Sale --- Written by Mike W. Barr with art by Alan Davis and Paul Neary
Another story, another villain. This time, if you couldn’t tell, it's the Scarecrow, a villain who I can easily be bored with due to his rather dull origin and repetitious ways. That being said, when he is good, he can be a fantastic villain. Is this one of those stories? It begins with Bruce Wayne and Jason Todd at a racetrack, seemingly taking a day off. However, Bruce explains that two major sporting figures have been involved in suspicious and risky accidents. Watching the race, Bruce and Jason notice that one of the drivers hasn’t got his safety harness on. A risky move to be sure! They quickly become Batman and Robin, but the driver’s car quickly crashes and bursts into flames. Luckily, Batman saves the driver from burning to death, with Robin firing a water hose at Batman constantly to ensure that he doesn’t catch fire either. Later at hospital, the driver thanks Batman, but he tells him that he would love to relive what he did again and again. Later in the cave, Batman investigates a blood sample from the driver, finding some of Scarecrow’s fear toxin. Robin then recalls the Scarecrow’s origin, something which bores me to death as I’ve read it so many times in different variations. At least this one doesn’t involve crows. Anyway, the Scarecrow himself meets the driver from earlier, discussing what happened. But Robin appears and attacks the Scarecrow, who unleashes his fear gas, sending Robin into shock as he imagines Batman being burnt to death. With Robin out of the way, the Scarecrow dares the driver to leap out of the building and live. The driver does just that but fails with the latter. This the Scarecrow I like. He finds amusement in other people suffering, while he himself can’t stand it if he is the one being laughed at. Anyhow, Batman creates a trap for the Scarecrow, luring him into by pretending to be a daredevil. However, the Scarecrow quickly realises its Batman and he knocks him out, leaving him a clue that Robin has been kidnapped. Meanwhile, the Scarecrow being the egotist that he is, tells Robin his plan for Batman to fall prey to his multiple traps in the automated concrete factory. However, Batman manages to avoid the traps, including one where he is submerged underwater for ten minutes while not being able to rise to the surface due to laser beams. However, he survived due to air when caught in his cape, like that somehow makes sense. Anyway, the Scarecrow is defeated, and Robin is relieved after worried that his greatest fear of Batman’s death may have come true. Batman then explains that he overcame the Scarecrow’s drug by focusing on his biggest fear, not telling Robin that it was the death of his sidekick by the hands of the Scarecrow. Little did he know that the death of Robin would come by
the hands of someone far worse. Overall, though, this is another fantastic story. The Scarecrow is written very well, and it isn’t too focused on the more boring parts of his character. The mental state of both Batman and Robin is shown excellently by Barr as he continues to develop the two in a great dynamic duo.
Story: 9.5/10
Art: 8/10
The Doomsday Book --- Written by Mike W. Barr with art by Alan Davis, Paul Neary, Terry Beatty, Dick Giordano, Carmine Infantino, Al Vey and E.R. Cruz.
As you’d expect, anniversary issues, back in the day anyway, weren’t particularly common and when they did arise, DC rolls out the red carpet with a longer story and more artists. The Doomsday Book is very different from the likes of Detective Comics 500, which features about five or so short stories featuring different characters who have appeared in Detective Comics since its creation in 1937. The Doomsday Book is one long story and in the grand scheme of things, it has no link to the usual run by Barr and Davis. That being said, Barr does write the story and Davis draws some pages, but it feels very separate from the other stories, especially since Sherlock Holmes himself makes an appearance. Anyway, the story starts with good ol’ Slam Bradley, a figure from the title’s old days. As a private detective, he meets a client named Thomas Morton, who is looking for his kidnapped fiancée. Suddenly, Morton and Bradley are attacked by some gangsters, but luckily, Batman and Robin appear and take most of them out. However, Morton is kidnapped by a gangster and taken to London. That’s where the first chapter ends, and it sets up the story very well. The second chapter begins with Slam Bradley continuing his investigation, visiting an Irish pub and searching for Morton’s fiancée, telling the pub owner that she has been kidnapped by the IRA. Even though Bradley doesn’t find any help, he chases down an IRA member, overhearing his conversation about Thomas Morton and his fiancée, Mary, who Bradley then finds held hostage by the IRA. After taking the terrorists out, Mary tells Bradley that her name is Mary Watson, and her birth name is Moriarty. The second chapter ends there and so far, there isn’t really anything wrong with it. It builds up the story excellently and the reveal at the end of the second part is a very effective one, that is, if you know anything about Sherlock Holmes, which I assume most do. Chapter three is where things become quite ropey. In London on Christmas Eve, Elongated Man investigates an attack on 221B Baker Street, once the residence of Sherlock Holmes. Inside, Elongated Man finds that only a dummy of Sherlock Holmes (continued)
has been shot and the man there, Mr Waid, tells him that the attackers are after the manuscript. Suddenly, Moriarty, a descendant from the original Moriarty, and his goons appear, searching for the manuscript. Elongated Man confronts and attacks them, but Moriarty gets the better of him and escapes. When he awakens, Elongated Man wakes up to Slam Bradley and Mary Watson, before finding the hidden manuscript. I don’t know why Moriarty just left after knocking Elongated Man out. Surely, he had the time to search. I think the biggest problem with this part of the story is the art, but more on that later. Anyway, the fourth chapter focuses on Sherlock and Holmes and Dr Watson in 1886, with their client Dr Brewster, who Holmes analyses his character in seconds due to his appearance. Brewster is one of Queen Victoria’s doctors and he is worried that people have seen him in places he has never been. Holmes investigates the case at night with Dr Watson, believing that an evil mastermind is behind what’s going on. When they arrive at Brewster’s mansion, they find him almost comatose, with a red leech on his chest. Once they save Brewster from the leech, they carry him out of the house, but they are attacked by his wife, who worked with a “Professor” to attempt to kill her husband. Holmes then tricks her by tugging the carpet, causing her to shoot above at the chandelier, which falls on her and kills her. Holmes and Watson then head to Buckingham Palace with Inspector Lestrade and find Brewster, but it is an imposter. After they take him out, Holmes tells Watson not to publish his account of the case, telling him that they must find more information about this strange “Professor” first. Then, a rock is thrown through the window, with a note threatening Holmes and Watson. That was the fourth chapter and tonally, it is very different from the previous ones. That could partly be because its set during the Victorian Era, but also because Barr wanted to tell an old-fashioned Sherlock Holmes story. For the most part, I think it succeeds, even if the plot itself is much more like a comic book story than a traditional Sherlock Holmes story. Still, that isn’t a bad thing. It does probably go on for too long in some areas, but it does a good job in explaining the relevance of the hidden manuscript from earlier. The fifth and final chapter of the story features every character involved, with Batman and Robin back as the primary characters. After reading Sherlock Holmes’s manuscript and Batman overhearing a conversation about a criminal meet-up, the heroes split up, with Batman’s team going to Greenham Common to discover what Moriarty’s plot is and the others going to Grimsby Castle where the Queen will be receiving a gift named The Doomsday Book, with Moriarty behind it. As Moriarty arrives in Greenham Common, he plans to fire multiple nuclear missiles. But Robin and Elongated Man appear, taking out Moriarty and his men. At Grimsby Castle, Batman breaks in and throws The Doomsday book away from the Queen and it explodes. With the Queen saved, Batman points to her inspector as he has the explosive detonator. As he tries to escape, he is stopped when Sherlock Holmes himself appears. With everyone freaking out over the appearance of a very elderly Sherlock Holmes, he thanks the heroes for solving Moriarty’s final problem and reassures Thomas Morton and Mary, telling them that he is glad the strain of evil isn’t dominant in the family. That is where the story ends and honestly, I think it somewhat falls apart towards the end. Moriarty’s plan feels incredibly unclear and The Doomsday Book feels very shoe-horned in at the very last minute. The stakes are certainly high, and the story is enjoyable, but there are many problems with the plot. Still, the huge cast all work well together and the story has a great beginning. Overall, not an essential or great story, but definitely a good one.
Excluding Alan Davis and Paul Neary (who I will come onto later), the art here is fairly mixed. Terry Beatty’s efforts with Dick Giordano are excellent. Their chapter mostly focuses on Slam Bradley and they give the chapter a visual look that reminds me of a modernised 1930s comics, especially with the lighting. On the other hand, it’s a great shame what happened to Carmine Infantino. He was a fantastic artist in the 1960s, but twenty years later, his art just looks rubbish. Everything looks incredibly flat and two-dimensional, with everybody having very similar and ugly faces. There’s no such thing as a curve either, as it looks like every line is drawn with a ruler, lacking any fluidity. Even Al Vey couldn’t save it. Lastly, we have E. R. Cruz, an artist who I hadn’t heard of, but his gothic style works well with a Sherlock Holmes type story, particularly with the thicker and darker inks.
Story: 7.5/10
Art: 7/10
The Mad Hatter Flips his Lids/…My Beginning… And My Probable End --- Written by Mike W. Barr with art by Alan Davis and Paul Neary
As the final story of the run before Batman: Year Two, this two-parter is actually very important, specifically the second part. After serving his sentence, Jervis Tetch, the
Mad Hatter, is released from prison, concerned that he hasn’t been given a hat (bad sign already for things to come). After leaving prison, he is confronted by Batman and Robin, who attempt to see if Tetch has learned his lesson. However, they notice his love of hats still, making them believe that nothing has changed. The Mad Hatter here is very different from the one I’m used to from the likes of the animated series or the consensus of how the character is now. I usually think of a small thin pale man, rather wimpy looking. Here, he looks quite different and more sinister, which I guess works, but it just caught me off guard. Anyway, not long afterwards, the Mad Hatter leaves a clue for Batman and raids a party at the Liar’s Club, but Batman and Robin appear. However, using a firemen’s hat, the Mad Hatter somehow causes a fire and escapes. The next night, Batman tells Robin that the Mad Hatter will strike next at a sport’s arena as there is a hockey game on and when a player scores three gaols, it’s called a hattrick. Predictably, at the arena, Batman and Robin find the Mad Hatter and take out all of his gang, but the main man himself escapes. To me, this is what every Batman story from the mid-1970s is like. It’s all very formulaic and bland, as if there is a solid blueprint for every story and how they should be told. But this is when the story takes a new level of ridiculousness. To attract the Mad Hatter, Bruce Wayne announces he is going to run for Councilman. At a party where Bruce will announce his candidacy, he notices straw hats being handed out to people. Knowing that the Mad Hatter is behind it, he and Jason become Batman and Robin. Suddenly, the hats begin to fly in the air like buzz saws, which the Mad Hatter controls. Although Batman takes out the Mad Hatter’s gang, the villain himself uses a gun to fire at Batman, but it misses. However, when the Mad Hatter is defeated, Batman notices that Robin has been hit by the Mad Hatter’s missed bullet. This is a great ending to definitely one of the weakest stories of the run, mainly due to how formulaic and bland it is. But the second part is where things get much better. At the Thomas Wayne Memorial Clinic, in a deprived area of Gotham (which Barr and Davis show excellently in the first page), Batman arrives with an injured and unconscious Robin, asking for Dr Leslie Thompkins’s help. As Robin is taken away by the Doctor to tend to his bullet wound, Batman sits and sleeps, remembering the death of his parents and how Leslie looked after him. Batman then wakes up, with Leslie telling him that Robin will make it. Leslie then accuses Batman of putting Robin in harm’s way just for his own mission, but Batman tells her that the mission chose him, not him it. Leslie then tells Batman about the night she found him, and she watched him sleep peacefully after the death of his parents. But Batman remembers differently, as he pretended to sleep before leaving the house and heading back to Crime Alley, finding Joe Chill’s gun and taking it. This is a key part of the story as in Batman: Year Two, the gun is very important. Leslie then tells Batman that she is sad that he was raised a lonely child and Batman tells her that when he went to College, everyone hated him due to his appearance of superiority. He slacked off in lessons and pretended to be bored while at night, he would study crime and learn to become the greatest detective of them all. Although he still blames himself for what happened to Jason, Batman is surprised when Jason wakes up and tells him that the two must always work together and that the bond between Batman and Robin is unbreakable. I think that Barr should have really merged the two parts together, starting with Batman arriving with Robin’s seemingly dead body before going back a day and building up to it. Here, the first part feels incredibly generic, but the second part is excellent. No pun intended here, but it bleeds character and drama, beginning a change in Batman and his attitude towards sidekicks. He blames himself for what happened to Robin and he will do it again when Jason does actually die later. My main problem however is the inconsistency with Batman’s origin. Around then in the late 1980s, Batman: Year One was published and Batman’s origin was dramatically changed, since he left Gotham and travelled the world. Here, there isn’t any of that, so this origin is forgotten rather quickly. Apart from that though, this leads us excellently into Batman: Year Two.
Story: 6/10
Art: 8/10
THE ART BY ALAN DAVIS AND PAUL NEARY
Some artists can add so much to a story and often, it can talk more about a character than a line of dialogue. Alan Davis is one of those artists, with a very rare ability that defines a character by their face or appearance. Some artists, particularly of this period, draw characters looking incredibly bland and unmemorable. Every character of the run here, Davis adds so much to them. Robin is a key example of this, constantly giving him this childish grin while giving Batman a moody frown, taking (continued)
himself so seriously. This is how the dynamic duo should be. He very much takes after Aparo with Batman’s appearance, particularly in the face and cape department. That being said, other greats may not be so refined yet. The Joker for example doesn’t look twisted enough. There are times when his smile just looks like a smile, not that face of evil which we should all recognise. But, overall, Davis, with Neary’s fantastic inks, tells Barr’s stories excellently and, next to Aparo and Brian Bolland, is one of the best artists that Barr ever worked with.
VERDICT
Overall, Batman: The Last Laugh is a strong set of stories. The Joker two-parter is a fun and enjoyable read while the Scarecrow story very much reflects how I think the Scarecrow’s character should be. The anniversary story may have its weak points, particularly towards the end, but I think that anybody who loves Detective Comics will like it. Lastly, while the first part of the final story with the Mad Hatter is fairly weak, the second part more than makes up for it, even if the changes to Batman’s origins are pointless. I guess my main criticism of the run is that there is no overarching story. The stories do feel like a set of one or two-parters and I think it needed more. That being said, perhaps the overarching story was the partnership between Batman and Robin. Here, Barr, Davis and Neary excellently shows us the ups and downs and how both of their fears is the death of Batman and Robin. Back then they seemed inseparable…
Stories: 8.5/10
Art: 8/10
Next Week: Batman: Year Two (Detective Comics 575-578). Written by Mike W. Barr with art by Alan Davis, Paul Neary, Todd McFarlane and Alfredo Alcala. Expected by 17/01/2021.
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