This review is going to be slightly different. Back in the days when Paul Levitz enjoyed the Presidency of DC Comics during much of the 2000s, it was a dark time for comics when the writing was grim and the art leaned more fitness magazine than superhero comic. Mainstream stories – like Infinite Crisis, Final Crisis, Identity Crisis, Blackest Night etc. – dominated DC’s output. In essence, things seemed to be so far removed from the light-hearted origin days that the company had been founded on. While this attitude seems to have continued similarly during the 2010s and into the 2020s, Levitz’s attitude to the past was different during the millennium’s first decade. While DC Comics today seems to hide most of the colourful days of the past, Levitz made sure to celebrate it. During the early 2000s, DC would occasionally release 80-page-giants similar to those DC produced in the 1960s and 1970s. One of those was known as The Brave and the Bold Giant – essentially a reprint of four important stories from the past. I think it’s best that I not only examine the quality of these gems but come to understand why DC and Levitz thought about reprinting them, and why DC under Dan DiDio and Jim Lee ignored them.
The Brave and the Bold Giant was published in 2001 as a retro-looking square-bound book. All four stories were reprints, reconveying stories written by Bob Haney, Jack Kirby, Joe Simon, Steve Ditko, and Steve Kaler, with art by George Roussos, Carmine Infantino, Charles Paris, Simon and Kirby, Steve Ditko, and Rocke Mastroserio.
Before we get into the stories, it’s worth looking at what this special book is all about. The cover looks like something out of the 1960s or 1970s – with its bright colour and compilation of the four reprinted stories. There’s a brief introduction at the very start explaining what 80-page giants were back in the day and it’s clear that this special is a tribute. DC clearly put effort into this as, throughout, there are advertisements presenting new Archive collected editions. Just like when old comics printed ads for other titles, the same is done here. Although the paper quality is far superior to the material used by comics during the silver age, there is still clearly a similarly in the feel of the pages. Right from the start, it appears to be a product of love. Alas, the appearance is only half the job. Do the stories hold up?
Wanted – The Capsule Master --- Written by Bob Haney with art by George Roussos
This 80-page giant reprints two stories from DC’s Brave and the Bold title. Originally launched as a springboard title for new creations that would receive their own titles if they were successful, The Brave and the Bold’s fiftieth issue began a great trend that made the comic book even more famous. Here, Green Arrow teams up with Martian Manhunter – two heroes you’d never expect to team up with each other, but that was the point. Under writer Bob Haney, the title placed two heroes together to take on some villains. In a story that begins like a Green Arrow tale, the hero himself and his partner Speedy attempt to capture some escaped prisoners, but find they bend steel like rubber and survive long falls without any damage. Just who are these escaped prisoners? Well, they’re aliens. After the villains steal a mysterious meteorite from a museum, Green Arrow gets in contact with Martian Manhunter. Together, the JLA’s hero from Mars and Green Arrow and Speedy locate a group of rogue Martians (who look like your regular criminals just painted green) led by a notorious Martian criminal known as Vulkor. His plan is to use the meteorite and a secret weapon from Mars to rule the galaxy. Aside from an utterly bizarre, cringeworthy, and too ridiculous scene where Martian Manhunter heads to his home planet – which is effectively New York on Mars, people and all – to find out some information about Vulkor. Like all stories from this era, the plot can be split into three parts and during the first two, the heroes basically make little progress. No real change here, although Haney does write an interesting idea as Green Arrow is mind controlled by the Martians at one point. However, as it should be, Green Arrow, Speedy, and Martian Manhunter defeat Vulkor before he can complete his goals. The reasoning for including this story is mainly because it is the first issue of the title which begins the team-ups which come to define it. Despite a long-winded plot (twenty-five very wordy pages!) and a hilariously silly scene on Mars (where I thought the whole population was dead), The Brave and the Bold 50 is a memorable story only because it sparks better and more enjoyable tales.
I suppose it was common for all artists in the 1960s to draw art that all looked very similar. George Roussos is no different as his simplistic but attractive storytelling reminds me of a more interesting version of the visuals produced by Mike Sekowsky for Justice League of America. It may be dull when it comes to drama, but it looks smooth and attractive.
Story: 7/10
Art: 7/10
The Death of the Flash --- Written by Bob Haney with art by Carmine Infantino and Charles Paris
This is where The Brave and the Bold really kicks into high gear. With issue 67 in 1966, Batman becomes the main feature of the title until its cancellation after issue 200 in 1983 (excepting issues 72-73). There was a time when, during the early years of the bronze age, The Brave and the Bold was the bestselling Batman title on the market, beating Detective Comics and Batman by a country mile. Why? Perhaps this is evidenced by the mood and feel of this issue. Right from the start, Haney strikes a different opening to most comic book stories from the time. It begins with a hook – Batman is holding onto the corpse of The Flash. What a start! From there, the plot develops as Gotham City is being raided by a fast-moving superpowered being stealing all the treasure he can find. Batman is no match for this villainous speedster. Therefore, the Flash is involved to help out. In effect, which is the plot of every Brave and the Bold story, but it gets better as – although the Flash can certainly match the speed of the villains – he quickly finds that his body has been damaged critically by radiation. If the Flash moves at high speed for any longer, he will die.
In the end, it’s revealed that the Flash was poisoned by the villains. Aside from that, there isn’t really much else in terms of plot. But the reason why it remains a favourite in the pre-Neal Adams Brave and the Bold era is because of how fast paced and entertaining it is. Infantino’s art certainly helps, but Haney’s storytelling and sense of drama here is excellent. Things feel genuinely tense and interesting. Batman is characterised well, and the Flash is a perfect character for him to team up with. Sure, the villains may be very cliched – and pretty forgettable – but there’s an interesting plot here. Therefore, the reasoning for including this is more than, I think, to retell the first regular Batman story in the title. It proves just how effective in storytelling comics from the late silver age and early bronze age could be. Overall, unlike the masked villains here, this issue is very memorable.
Undeniably, the first regular appearance of Batman in this title was benefited by the masterful art of Carmine Infantino. This is when the silver age legend was at his creative height, pioneering The Flash and energising storytelling in comic books. Charles Paris’s inks can be often heavy or too dominant, but the genius of the visuals is very much present. In short, Infantino’s art is impressive and summarises the action-packed world of DC in the sixties.
Story: 9/10
Art: 9.5/10
The Invasion of America --- Written, pencilled, and inked by Joe Simon and Jack Kirby
After two key Brave and the Bold stories, the rest of this 80-page giant is something of a love letter to three great comic book giants – Joe Simon, Jack Kirby, and Steve Ditko. First up is something of a forgotten classic – a story which compiles the magic of Simon and Kirby into a golden age classic. Printed originally as a back-up in Detective Comics (vol 1) 76 in 1943, we’re treated to a story like no other. Back in the day, Kirby and Simon produced several titles that played a part in the war effort against the Nazis. Here, the special reprints an old story featuring the Boy Commandos, a kid gang with ugliness and attitude. While they appeared in countless stories during the decade, this one is different because I suppose it can be considered one of the first comic book team-ups between titles. As the Boy Commandos head to New York as a reward for their hard work in the war effort, they meet the Newsboy Legion, along with Sandman and his sidekick Sandy. While the creative duo did not create The Sandman, he was considered one of the Kirby/Simon characters and his stories in Adventure Comics are remembered as much as the tales featuring the Boy Commandos and the Newsboy Legion.
While the plot here is pretty standard for its time – the Boy Commandos are captured by Nazi spies and the other heroes must help them escape and defeat the fascists – it’s great because you get to see these brilliant heroes together. Kirby and Simon understand these characters so well and, unlike many characters at the time in other titles, they have strong personalities that make them memorable and interesting. While the Boy Commandos often dominate this story too much at times, the presence of a large cast and the usual action make Detective Comics (vol 1) 76 a Kirby/Simon classic that should surely be remembered.
The Boy Commandos was a purely Kirby/Simon project. While they both provided the dialogue, they created the art together. For its time, the page layout is unique and creative. The art’s texture is nice, and each character has their own distinctive image. But most importantly, the storytelling is certainly ahead of its time. It’s full of drama and action that is conveyed far more creatively than the likes of the artists in the mainstream titles (no disrespect to the giants of Batman or Detective Comics). Yes, it can be amateur by today’s standards, but it is still marvellous.
Story: 9.5/10
Art: 9/10
Strings of Punch and Jewelee --- Written by Dave Kaler, co-scripted and pencilled by Steve Ditko, with inks by Rocke Mastroserio
With Kirby and Simon out of the way, Steve Ditko was always going to come next. However, their choice of story may be surprising. Since Ditko did not produce any
stories for DC where his own creations would team up together, the choice for this special is an old Charlton Comics story. Before he joined DC in 1968, Ditko produced some of his most famous and loved heroes at the small comic company such as The Question and Blue Beetle. In Captain Atom 85 in 1967, the star hero teamed up with heroine Nightshade to take on Punch and Jewelee – two clownish villains who treat everything they do as if it’s a pantomime sketch. Quite honestly, I don’t feel like it’s worth looking into the story of this one too deeply. Mainly, this is because the plot is terrible and hard to read. I know little of Dave Kaler and his works, but Steve Ditko has never been one of the masterful plotters and the rag the writers produce here is poor. In short, Punch and Jewelee use a strange device to entrap civilians in giant glass gems. Captain Atom and Nightshade – an interesting team-up I have to say – work together to beat the villains. If you ignore its weaknesses, such as its verbosity, lack of structure, and dullness, I think DC was right to reprint this one. Not only is it an interesting pairing of two intriguing heroes, but it’s proof that DC has – or had – a care for its past and roots. Charlton Comics may never be considered one of the giant pioneering companies that revolutionised the medium, but it brought such talent to both DC and Marvel. Steve Ditko produced some of his most extreme and interesting concepts at the company, and DC deciding to give Charlton some credit deserves huge applause. Overall, the story might suck eggs, but its reprinting shows DC had some humility and love of its past.
Despite a duff plot, the art here is undeniably fantastic. The smooth appearance and storytelling of Steve Ditko is on show here brilliantly. It’s colourful, interesting, and hugely engaging. It brings energy to a terrible story and while Ditko himself may not provide the inks here, the magic is still very much present. Overall, certainly the best art of the whole book, and that’s saying something when the competition is Jack Kirby and Carmine Infantino.
Story: 3/10
Art: 10/10
VERDICT
Overall, The Brave and the Bold Giant is significant for reasons more than just the quality of the stories it reprints. Sure, most of the reprinted tales here are decent and they all contribute to the theme of the title the book homages. However, most importantly, this book is pure evidence that the DC of old loved and admired its past. The stories, the feel of the book, the paper, and the adverts all contribute to the feeling that this was a labour of love. Why haven’t DC produced anything like this since? Well, the sad answer has to be money. Creators like Dan DiDio and Jim Lee – for whatever strengths they may have – don’t dare look back on the past for the fear of losing money in the future. The launch of the New 52 in 2011, Rebirth in 2016, or even the aborted 5G in 2020 were all clear signs that the company only cared about profits. Sure, DC under Levitz and all good Presidents thought about money, but there was also a love of quality storytelling and respect for the past. In sad conclusion, The Brave and the Bold Giant is a sign of the times when DC was run by creators who cared about the medium for what it had done and what it could do. Those days are long over…
Stories: 8/10
Art: 8.5/10
Next Week: Justice League International: The Starro Invasion (Justice League Europe 23-28, Annual 2, Justice League Quarterly 3). Written by Gerard Jones, Keith Giffen, and J.M. DeMatteis, with art by Bart Sears, Randy Elliott, Steve Carr, Russell Braun, Marshall Rogers, Linda Medley, Giffen, John Beatty, Curt Swan, Ty Templeton, Michael Golden, Mike McKone, and Bob Smith.
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