Secret Wars on Infinite Earths: The Comic Book Fight Club

BATMAN versus PENGUIN

Snow and Ice Part Two: Bird of Ill Omen (DC)
Where: Detective Comics #611 When: February 1990
Why: Alan Grant How: Norm Breyfogle

The Story So Far...
The Penguin is dead. Claimed by a heart attack in Gotham Penitentiary while working out in the gym. An ignoble death for a man whose final will & testament pledges protection to the bird species from which he took his criminal alias.

The Batman attends his funeral with other friends, rivals, and enemies, breaking with taste and tradition to diligently verify the legitimacy of Oswald Cobbleplot's demise. The corpse is genuine -- but its slumber is not. The Batman is right to harbor his suspicions.

By night, The Penguin's men exhume his body, and although they at first fail to stir him from the hypnotic state mimicking death -- they soon spring Mortimer Kadaver from prison. His role in putting The Penguin under is quickly undone with the utterance of a simple code word, allowing the pair to begin a fresh crimewave with The Penguin beyond suspicion.

Tale of the Tape...
Strength: Batman 3 (Athlete)
Intelligence: Batman 5 (Professor)
Speed: Batman 3 (Athlete)
Stamina: Batman 5 (Marathoner)
Agility: Batman 4 (Gymnast)
Fighting: Batman 5 (Martial Artist)
Energy: Batman 4 (Projectiles)
Total: Batman 29 (Metahuman)

Batman has one of the most famous rogue's galleries in comic book villaindom, and although The Penguin has always enjoyed a certain iconic status, modern times haven't always been especially flattering to his combat potential.

Once upon a time this criminal mastermind reigned supreme as one of Batman's premiere opponents, but as The Dark Knight has become increasingly associated with almost super-human levels of peak physical & mental conditioning -- Oswald Cobblepot has found a more comfortable niche as a businessman and overseer.

The Penguin therefore differs from some of Batman's more maniacal arch-villains in cold calculating. He's a rational actor, wielding tactical brilliance to manipulate the ranks of organized crime, politics, and high society -- eventually maintaining the facade of a legitimate businessman as owner of The Iceberg Lounge.

One way Penguin deals with physical opposition is to recruit hired muscle. We saw him call upon Girder and Double Down during a visit to Keystone City in The Flash #210. He also recruited Jonathan Crane for an operation that led to the psychologist's transformation into the rampaging Scarebeast.

Far from helpless, Penguin also typically travels with an arsenal of personal firepower. His famed trick umbrellas come with a variety of munitions, blades, or gasses, as was unleashed against Green Arrow in Justice League of America #135.

We generally expect Batman to defeat most opponents in the end, but planning and resources can get the better of him -- especially in one of his more street-level outings.

The Batman himself almost undid his dominance over Rick Flag by infiltrating the secret Belle Reve Prison headquarters of Task Force X. Caught in the lion's den, he only escaped Amanda Waller's Suicide Squad through negotiation.

Master planners Bane and Hush stacked the deck in their favor by running The Batman ragged before respective showdowns in Batman #497 and Batman #619. Pawns in their scheme, Riddler and Harley Quinn, proved capable of testing The Dark Knight in their skirmishes as well, in Batman #490 and Batman #613.

So, will this be one of those circumstances? Has The Penguin planned the ultimate humiliation for Batman in this installment? Let's stop speculating and find out!

The Tape: Batman Ranking: Batman (#1)

What Went Down...

With a spring in his step, a sack full of cash over his shoulder, and a tune whistling from his lips -- The Penguin descends a fire escape ladder on his way to another escape from the back of the freshly robbed First Gotham Bank.

He has just unburdened himself of his partner-in-crime, Mortimer Kadaver, but The Penguin's troubles are only just beginning. As he begins to load his loot into a getaway car -- a cold voice growls from the street light overhead: "Hi."

The startled Penguin leads with his umbrella gun as he twirls to meet the grim figure descending from above.

His hat falls away and for the briefest of moments The Penguin locks eyes with his hunter, but he does not lose his composure.

The Penguin welcomes the diving Bat with open arms -- using the Dark Knight's own momentum to redirect him with a backwards roll and kick of his legs.

The toss sends Batman hurtling into nearby trash cans -- a painful reminder that appearances aren't everything where the stout, but physically capable Penguin is concerned. His choice of accessory hides deadly potential, as well!

From the end of Penguin's umbrella blasts a wild spray of gunfire!

Batman dodges and weaves to keep clear of the shots, but he knows he can only keep the feat up for so long!

With a single fluid motion The Bat dances around the bullets, while also collecting one of the nearby trash can lids to fling towards his foe!

The broad metal disc collides with The Penguin's skull -- creating an opening!

The Batman seizes his opportunity -- closing in with a knock-out punch!

The Hammer...

Our first look at a classic rivalry gives us a surprisingly competitive street fight.

I have to admit, I'm not entirely at peace with the image of a judo-rolling Penguin, but for the most part I find this a pretty acceptable outing.

Batman dancing between short-range gunfire might be stretching credibility to its absolute breaking point, but there's still a lot to like about the balance of ruthlessness and iconic Penguin gimmickery in this portrayal. I'll gladly take reality-bending super-human feats if it means indulging in the fantasy of trick gun-umbrellas and exciting comic book imagery.

Norm Breyfogle has to be right up there with Jim Aparo as one of the great, iconic Batman artists. They both have terrifically stern, angular takes on The Dark Knight, who remains firmly rooted in the world of superheroes, but can disappear into highly stylized urban shadows, and moody pulp page layouts.

There's something about Breyfogle that reminds me a little of Sal Buscema, as well. Another favourite artist of the late eighties/early nineties who trades in sound fundamentals, instantly identifiable exaggerations, and a flair for big action and expressive characters. Guys who really make comics a singular experience.

We're back in one of my favourite years: 1990. A time especially significant for Batman as a character and brand, still riding the phenomenon of mainstream mania sparked by the 1989 feature film, while DC Comics continues to navigate the on-going creation of a new normal for a post-Crisis DC Universe.

I think fondly of picking up issues of Batman and Detective around this time, in places like the city train station, where I would exit past the newspapers caged outside a narrow hole-in-the-wall convenience store, new issue gripped in my hot little hands, and daydream about Batman and The Joker fighting across an overhead foot bridge. There was a touch of Gotham in that place, with its old fashioned wooden phone booths & polished coat hangers, and rain-soaked winter commuters whom I could swear were wearing hats and trench coats, but probably had something a little less sophisticated in style for a 1990 wardrobe.

The classic rogue's gallery was ripe for a rethink around this time, and Bat-fans were eating well, with all the major villains represented and near the peak of their powers. A period of re-establishment that laid a strong new foundation for the decades to follow and build upon.

The Penguin is still leaving a trail of clues for Batman in this issue, citing the idea that a crime spree wouldn't have any thrill if nobody knew who was doing it, but he's taking a break from ornithological fixations to go after cold hard cash, and more notable, "snow" and "ice" -- street names for cocaine and diamonds.

I suppose there's nothing too unusual about that, but it does feel a little like this issue is participating in a broad process of evolution that will advance the Bat-mythos, and take The Penguin toward a more hands-off approach, arriving a decade later as something of a power broker ensconced in a world of luxurious gimmicks -- namely The Iceberg Lounge -- rather than actively pursuing gimmicks, like exotic birds.

Not that I'm at all opposed to Oswald Cobblepot's specialist interests and proclivity to acquire the finest things through criminal methods. There are just better opponents to be out on the streets trading blows with Batman, and the idea of flaunting clues for attention feels more at home with Riddler, or perhaps Joker.

This process of refinement, and commitment to the unique accumulating culture of comic books, was & is one of the pleasures of the era.

You could really count on the comics back then; resistant to even the massive cultural impact of Michael Keaton's Batman, and Tim Burton's later vision for a grotesque sewer-dwelling Danny DeVito that we never fully suffered in comics. Even the enduring all-black rubberized Bat-costume was never fully executed in the comics, even if there was some experimentation with colouring and design.

The Penguin was a brilliant visual right out of the gate in 1941, and the details of that design were largely retained as well -- even in the face of modern fashion sensibility, which admittedly, had room for gorgeous retro as part of its variety of styles, but still contained the pressures of aggressive disposal in pursuit of the hot new thing.

If there were any outside forces that influenced Penguin - it was the Batman animated series: A show that was embraced by comicdom for its high-quality retro vision, which itself was heavily and intuitively influenced by comic book sources.

For lack of a better term - the cartoon was one of "ours", even as it navigated its own necessary evolution of design and characterization, before eventually losing its way in the later iterations.

I don't like to spend too much time here railing against the present, but I invariably return to the subject, because I do wish current comics showed more of that consistent old resiliency and dedication to refinement, without falling in to a complete regression into dead-end nostalgia.

It weighs particularly on my mind as we endure our current Batman mediascape, steered unconvincingly, but with baffling acclaim, by Matt Reeves' decidedly less comics-intelligent, pathetically cliche post-Nolan pubescent fan-fiction, The Batman, and the current Penguin spin-off series starring Colin Farrell on MAX, which I admittedly haven't seen much of. I'm not sure it would improve my mood.

The temptation of the British gangster pursues a version of The Penguin that ultimately seeks to diminish the things that make him interesting. This version is cut from a cloth notably worn by the Batman Arkham video games, which are very good, but slightly cringeworthy for the 'edgy' grime of their aesthetic, pulling on outside influences, like roles played by The Long Good Friday actor, Bob Hoskins, in addition to a wide array of Batman comics and multimedia.

These efforts in other mediums forget that there is a big wide world of characters, and in the case of Farrell's portrayal, the addition of scars further infringes on other characters, and by design works to make The Penguin far less special.

It can be very interesting to flesh out a character or idea by pulling on intuitive similarities to outside reference, but done indelicately, without firm understanding and appreciation for the original source, it can quickly become a self-defeating fool's errand, gradually making everything in our world increasingly bland and flavourless. We can find British thugs in any number of other places - but there's really only one monocle-wearing, top hatted, umbrella-packing, dapper Penguin.

Superheroes and their prolific blockbuster adaptations have been particularly endemic of this problem, but it's something palpable throughout all western pop culture, which seems to have lost far more than it has gained in the last couple of decades. A depressing reality for fans & viewers -- and the industry itself.

I find myself increasingly believing comics should be read backwards and forwards. The best of the past and the potential of the future.

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Winner: Batman
#1 (--) Batman
#1084 (-7) The Penguin