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

BRONZE TIGER versus BATMAN

The Vengeance Vow! (DC)
Where: Detective Comics #485 When: September 1979 Why: Denny O'Neil How: Don Newton & Dan Adkins

The Story So Far...
The path of The League of Assassins has drawn Batman to the circus for a night of murder!

Under the big top the Dark Knight joins owner Kathy Kane for a battle with League thugs, but the main attraction is still yet to come!

For unknown reasons the former Batwoman has been targeted and The League has sent one of their deadliest assassins to complete the mission! Brainwashed into following their every order: The Bronze Tiger intends to see that The Batman doesn't get in the way of seizing their prey!

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

For a long time we've talked about Bronze Tiger and his famous victory over Batman. It was once one of the character's greatest claims to fame -- instantly affording him credibility as one of the DCU's best hand-to-hand combatants.

In context it was a source of great shame for Benjamin Turner: a skilled martial artist whose fighting prowess was twisted to serve The League of Assassins.

Penance for his actions whilst brainwashed led Bronze Tiger to join the Suicide Squad. His knowledge of nerve holds employed to control the Enchantress during the first mission when she threatened to go rogue in Legends #3.

So skilled is Bronze Tiger that he was even able to hold his own against the super-powered Stalnoivolk just by using speed and technique. He memorably teamed with Vixen to take the Russian down. Of course, no clash better represents his fighting spirit and skill than his first battle with rival Ravan in Suicide Squad #2.

Batman is broadly presumed to be one of DC's standard-bearers for high-level martial arts. He isn't the best practitioner, but he is one of them. Despite this fact -- or perhaps because of it -- most of the challengers we've observed have been super-human mountains to climb, rather than hand-to-hand equals.

Bronze Tiger's Suicide Squad teammate, Rick Flag, is a soldier trained in unarmed combat techniques, but found himself inevitably outmatched whilst brawling with Batman in Suicide Squad #10. Marvel's resident super-soldier Captain America fared a little better until fate upended him in Marvel versus DC #3.

Bane holds one of the most famous victories over The Dark Knight, but despite his fighting prowess, the back-breaking win in Batman #497 relied on performance-enhancing drugs and pre-emptively exhausting Batman, rather than skill.

Batman is a stalwart of the top of the Comic Book Fight Club rankings, but the only way we can really find out whose martial arts is supreme is to take a look!

The Tape: Batman Ranking: Batman (#1)

What Went Down...

A warm reunion between old acquaintances is cut short when The Bronze Tiger steps into the big top of Kathy Kane's circus!

Flanked by knife-wielding assassins: Bronze Tiger announces himself and the trio's intention to take the woman.

Batman stands defiant. Bronze Tiger will have to get past the Dark Knight if he wants to claim Kathy Kane. A challenge he's all too happy to take.

In the blink of a tiger's eye the cat-masked fighter moves at Batman with lightning speed and precision!

He feints a punch at Batman's head, but finds The Dark Knight's reflexes just as fast as his own! Batman blocks the blow with an instinctive sweep of his forearm and elbow. A strong defense -- but not enough against a master martial artist!

Bronze Tiger responds to the block in an instant, whirling his body to bury a stiff straight kick deep into Batman's gut!

The devastating blow forces even the steely composure of Batman to break. He has no choice but to sink to his knees as oxygen leaves him and his vision begins to blur. His mind a thumping drum as he fights to maintain consciousness.

Before the darkness overwhelms him he is witness to the glint of a knife as it darts upward and suddenly down. Kathy Kane's cry is the last thing he hears, distant as he slips into unconsciousness.

When he recovers mere minutes later a trail of bloodstained sand leads him to a grim discovery: Kathy Kane has been murdered! Dead, still clutching the costume she once wore as Batwoman. Another soul lost at the circus.

The Hammer...

As fights go it was awfully brief. It hardly seems fair! A split-second decision costs Batman victory and Kathy Kane her life. Such is the grim reality that life should be so fragile. A single lapse is all it takes to end a very precious thing indeed.

Bronze Tiger secured his victory with the abrupt execution of only two definitive offensive strikes: a punch and a kick.

This isn't the main event of Detective Comics #485. More of a primer for their inevitable rematch come issue's end. Yet in some ways its the encounter that feels most applicable to later claims to fame. A necessary piece of a larger puzzle.

It may feel short of a legendary comic book showdown, but the brief exchange has all the technical hallmarks of an adrenalizing prize fight finish.

Occurring within the confines of a single page: this skirmish is a study in martial arts precision. A simulation of the real-time combination of chess-like tactics and physical intuition that resides deep within the best of modern mixed martial arts.

Batman shows strength and skill in blocking Bronze Tiger's aggressive opening strike. The sweeping elbow shows instinct and training. He's ill prepared for the follow-up, but I'd be reluctant to characterize that as a lack of foresight.

Bronze Tiger allows the sweeping block to deflect his fist and continues through the punching arc, turning the momentum of the twist into a penetrating sideways thrust kick. The shift from right hand to left foot happens in less than a second, requiring only a 180 degree pivot. Batman is good, but Bronze Tiger is better!

By 1979 the world had already loved and lost Bruce Lee. The phenomenon of his movies in the United States, particularly the Warner Brothers co-production, Enter the Dragon, had directly inspired a wave of martial arts enthusiasm, and comic book creations like Shang-Chi, Richard Dragon, and Bronze Tiger himself.

"Sensei" Richard Hill is credited for providing martial arts advice to this story. It would be a few years before Batman would become the infallible fighting machine of modern interpretation, but the seeds of Frank Miller's Dark Knight can be seen forming under Denny O'Neil's attention to researched combat, and gritty detail.

Of course, artists Don Newton & Dan Adkins were charged with putting the action onto the page, and they do a good job communicating the kinetic information so it's clear to understand, and reasonably pleasing to look at.

You may have noticed I've scanned and included panels from the 1991 Tales of The Demon trade reprint, where Adrienne Roy's colours, if unaltered, really pop against the thick black inks of the era. I particularly enjoy the oranges used for Bronze Tiger, and although I prefer a black Bat, the blue works nicely, as well.

At some point we will reconvene to take a closer look at the Batman/Bronze Tiger rematch. I'd also like to revisit the preceding battle with Kathy Kane, which would be her last. The erstwhile red & yellow Batwoman isn't a character I have a great deal of affection for, but her ignoble end warrants another look.

This entry is inspired by the release of the animated DC feature Batman: Soul of the Dragon -- a seventies-infused kung fu thriller that unites a young Batman with DC's martial arts icons. If you enjoy the basic premise, I strongly recommend the "Return of the Fearsome Fangs" episode of Batman: Brave and the Bold.

If you'd like to see today's featured fight in its full context - you're in luck! The collected Batman: Tales of The Demon received a new printing in 2020! Shop with the Amazon link provided and you'll not only get a good read delivered to your door -- you'll also help the site at no extra cost!

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Secret Wars on Infinite Earths has featured over 650 battles and is counting down to ranking our 1000th character! You can check out some of the ranked fighters in the 2020 Rankings Recap, or just revisit the Top 20 Fights of 2020 and Featured Fight Recap. Or explore the Secret Archive for a complete index of every featured fight organized by publisher, series, and issue number!

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Winner: Bronze Tiger
#41 (+15) Bronze Tiger
#1 (--) Batman
#941 (new) Kathy Kane

DEADSHOT versus BATMAN

The Deadshot Ricochet (DC)
Where: Detective Comics #474 When: December 1977 Why: Steve Englehart How: Marshall Rogers

The Story So Far...
While Bruce Wayne plays interested billionaire playboy for enterprising love interest Silver St. Cloud; news breaks of an old enemy's escape from Gotham City maximum security prison!

Floyd Llawton once threatened to replace The Batman as Gotham City's resident masked vigilante, adopting the marksman's moniker of Deadshot!

When he was exposed for the crook he really was, Deadshot was thrown into prison and soon forgotten. Locked away with a bitter grudge against The Dark Knight, Llawton waited for his opportunity to escape -- finding it when The Penguin is incarcerated with a laser monocle!

Back on the loose, Deadshot has honed himself into a deadlier nemesis than ever before! Knowing the escaped convict's old haunts are dangerously close to Silver's exhibition, Wayne takes to the rooftops as Batman to confront his enemy in the ultimate grudge match!

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


We've spent a lot of time revisiting the mid to late eighties of DC Comics during this year's Secret Wars on Infinite Earths. It was a time defined by Crisis on Infinite Earths, and the subsequent rebuild of the company's shared universe.

You can't think about the post-Crisis eighties without remembering John Ostrander's Suicide Squad -- featured heavily in August updates to coincide with the release of the feature film! A pivotal, breakout character of the original run (and movie) was Floyd Lawton, aka; Deadshot -- fan-favourite, never-miss mercenary with a wrist-mounted gun for hire!

We got to see Deadshot's gunsight in use during the Suicide Squad's inaugural mission in Legends #3. Recruited from prison after a run-in with The Flash [Legends #1]; Lawton helped take down a giant fire-monster from Apokolips called Brimstone! The creature had previously taken down Firestorm [Legends #1] and the Justice League of America [Legends #2]. A pretty big debut!

Before he became an expendable covert asset for the United States Government and Task Force X: Lawton was a wealthy thrillseeker who fancied himself as the next Batman. Dressed in top hat, tails and mask, he turned his crackshot skills against Gotham City's mobsters and became the new top vigilante in town.

Batman and Robin eventually exposed Deadshot for the crook he really was. He was thrown in jail, where he remained for years -- until Detective Comics #474 brought him into a new era!

If we were approaching this story in 1977, the odds would probably be even. Deadshot did have the upper hand in that original 1950 story, but was also ultimately defeated. Today, we have a very different impression of both featured characters. The post-Crisis modern DC Universe placed both characters on equal footing with some pretty major league opponents!

Batman, in particular, has routinely taken down super-powered foes of the caliber of Darkseid [Superman/Batman #42], Superman [Superman/Batman #78], and Amazo [Batman #637]! His arch-nemesis The Joker is basically a mortal man relying on weapons, but their dynamic typically sees The Dark Knight in complete combative control. Even Marvel's Bullseye was effortlessly punched out after a game of Batarang catch in DC versus Marvel #1!

We haven't seen Batman really face-off with a marksman of Deadshot's caliber, but he was significantly tested in hand-to-hand fights with Rick Flag [Suicide Squad #10] and Captain America [Marvel versus DC #3]. There was also the little matter of his ultimate defeat by Bane [Batman #497] - a tactical fighter, but not really at all comparable to Deadshot.

This is essentially new territory for Batman on The Comic Book Fight Club. How will he handle the ultimate gunman? Nine times out of ten he should have the best of the cavalier Deadshot, but lets see just what happened when Batman first faced off with his revamped nemesis!

The Tape: Batman Ranking: Batman (#1)

What Went Down...
Patrolling the Gotham City rooftops; The Dark Knight remembers the time he was nearly bested by a twisted counterpart -- now a fugitive! As if in reply, a rifle shot rings out in the night, narrowly missing the caped crusader's cowl! An attention grabber fired from the barrel of recently escaped convict: Deadshot!

From a vantage point atop the nearby Ellsworth Building, Deadshot calls to his nemesis. He educates his enemy in his new methods: a wrist-mounted blaster to channel his hatred into pure power. In the past he played games, but now his revenge will come as straight as a bullet from a gun!

While Deadshot is distracted delivering his impassioned speech, The Batman navigates the night to launch a sneak attack. He seizes upon the villain with a sudden tackle, clutching at his weapon - but Deadshot is unfazed!

In the former dandy, Batman finds a nemesis who has used his prison time to harden his will, and strengthen his body! Deadshot avoids an uppercut and fires back with his own left cross! The scuffle sends Deadshot toppling from their precarious perch, but he's prepared for that too! A grappling line fired from one of his gauntlets allows him to glide effortlessly through the city street! He challenges The Batman to catch him if he can!

Batman wastes no time - taking chase on his own batline to follow the arc of his gun-toting counterpart. As they touch down on a conventional hall roof, Batman uses his momentum to turn the tables on his prey!

The costumed combatants smash through a skylight, plummeting onto a giant typewriter displayed within the convention hall! A prop in the exhibition run by Bruce Wayne's favourite girl Silver St. Cloud!

Suspicious of The Caped Crusader's connection to her beau, St. Cloud keeps her security at bay, allowing the vigilante to pursue the fight across lettered keys!

Losing the fist fight, Deadshot flees across the keyboard - warning Batman of a new moral code that has no concern for innocent bystanders! This only fuels the Dark Knight's determination as he launches over the typewriter hull, landing on one of two massively oversized typeballs!

Thinking quick, Deadshot fires a magnum charge at the carriage return key - sending the typeball spinning out from under Batman's feet! He has no choice but to launch himself into the air - his cape sprawled like a bat's wings!

As Deadshot gets him in his sight, Batman disappears into the typewriter void. When the marksman leans over to look in - Batman springs his trap, swinging gymnastically to catch his opponent in a head scissor!

Falling into the machine, Deadshot becomes entangled in the massive tape strip. Finding sure footing above, Batman bests his returned nemesis with a simple threat to write a letter. Deadshot concedes - for now!

The Hammer...
By his opponent's own admission: Batman is victorious!

An seemingly ignoble return for a villain who once successfully bested The Bat, but the beginning of a full-fledged comeback that would create the definitive Deadshot! A legacy that arguably peaked around a decade later, but we're getting ahead of ourselves...

Publishing lore has it that the modern revamp of Deadshot came about almost by accident! Brian Cronin covered the story in his Comic Book Legends Revealed, illuminating the clash of two Joker stories scheduled to hit racks simultaneously.

Conscientious Bat-editor Julius Schwartz tasked his Detective Comics team with coming up with a new script to delay their now-famous "Joker Fish" issue. The resulting insertion was the return of a villain who hadn't made a meaningful appearance since his debut in 1950!

The Deadshot that appears in Detective Comics #474 arguably could've been a brand new character. In his original appearance he was a dandy gunslinger in mask, top hat and tails. There's very little in common between that character and the metal masked, red suited mercenary designed by Marshall Rogers!

Yet, by harnessing the published history of a forgotten villain, Englehart and Rogers create a character pregnant with greater context.

By honoring the noble tradition of reexamining old ideas in comics, they demonstrate one of the factors I love most about the medium.

Back issues were presumably a boon to the creative process, but the reader gets something out of it, too. A reason to look back at an old story, to find new and old meanings, and to see a living evolution of characters and their world. It's creation and fiction coming together to make something special and largely unique to well made, well maintained serial comics!

DC have applied the basic premise of revamping characters quite heavily to their comics line in recent years. Frankly, it's made them unattractive. Their approach to restarting the line was in keeping with the premise of Crisis on Infinite Earths, without any of the justifiable reasoning. By applying a new coat of paint to a forgotten, discarded character, Englehart and Rogers demonstrate when and how to take this approach.

Would I have embraced this new Deadshot if I were an informed reader of 1977? I am a traditionalist at heart, so I'm not  entirely sure, but there are compelling factors that spell welcome update...

Twenty-seven years of dormancy has a way of justifying a new approach. Especially between eras as distinct as 1950 and 1977. The eighties certainly benefitted from Deadshot's look - as at home with four-colour comics as GI Joe toys. I greatly appreciate that the original design is featured in the issue's flashbacks. An acknowledgment and transition that leaves the door open should ideas warrant it.

Of course, there is something appealing about the absurd visual of a man in a tuxedo wielding guns. It lends itself to the idea that this is a dark shadow to Bruce Wayne, lacking motivation or sophistication in his masked alter-ego. In the present, there'd be a fun, facetious, pop post-modernism to embracing the dated appeal of the original, moustachio Deadshot. I think that's a good thing, but don't quote me on it.

The eighties are, of course, a big part of why we're revisiting this issue now. Even with all their considerations, Englehart and Rogers ultimately left Batman with a fairly shallow sniper in his rogue's gallery. A welcome addition, but one that would be most valuable as a utility to stories, rather than an engine. That all changed when the character caught the eye of John Ostrander.

Right from their first mission in Legends #3 (1987), the Suicide Squad put Deadshot up front and center. By now he was well on his way to being a charismatic, cavalier mercenary, but under Ostrander all aspects of the character would coalesce into a worthy icon of DC Comics! A sniper with a death wish and a complicated old money history built on his first appearance.

We ran out of time to really spotlight Deadshot in August, but the dubious big screen Will Smith version did inspire a Hero of the Week entry. As we tie these loose ends from 2016, I hope we can again aim to come back to address more of Deadshot's development. I've had a lot of fun revisiting Deadshot and the Suicide Squad throughout this year!

If you'd like to find more featured fights like this one, take advantage of links littered throughout this post, or dive in by Publisher, Series and Issue in the Secret Index Archive! There you'll find a catalogue of every battle featured on the blog! If you like what you read, hit the G+1 button or social media links located at the bottom of every entry!

Want to read today's featured issue in its entirety for yourself? You can find relevant collected editions by hitting the Amazon links embedded to the right of this text. Using them helps the site, which is great!

I recommend you do. The panels featured in this post really don't do the sumptuous art work justice! Terry Austin's inks give Rogers' art a great strong look, and the reprint colours look great. Strange Apparitions is tough to come by right now. I hoped the Suicide Squad film might get it back into print - but it didn't. I do know this particular issue is included in Deadshot: Beginnings. Another worthwhile read, if you're looking to better understand the character's motivations.

Winner: Batman
#1 (--) Batman
#111 (-6) Deadshot

BATWOMAN versus ALICE
Elegy Part 2: Misterioso (DC)
Where: Detective Comics #855 When: September 2009 Why: Greg Rucka How: JH Williams III

The Story So Far...
Inspired by an encounter with the Batman, Kate Kane joins the Gotham City masked vigilante fraternity as Batwoman! Adventuring alongside her lover and ally, The Question, she becomes embroiled in a conspiracy involved Intergang and a mysterious text called the Book of Crime.

The Question soon uncovers a disturbing prophecy that declares the "twice named daughter of Kane" will suffer a brutal end. An end she only narrowly escaped, having to survive mortal wounds inflicted during a sacrificial ceremony under Intergang's leader, Bruno Mannheim. Recovered; Batwoman returns to Gotham's streets and rooftops to pursue the thirteen covens of the Religion of Crime. An act that brings her into conflict with the newest leader of the criminal zealots - Alice!

Tale of the Tape...
Strength: Batwoman 3 (Athlete)
Intelligence: Batwoman 4 (Tactician)
Speed: Batwoman 3 (Athlete)
Stamina: Batwoman 4 (Athlete)
Agility: Batwoman 4 (Gymnast)
Fighting: Batwoman 5 (Martial Artist)
Energy: Batwoman 2 (Projectiles)


- At the tender age of twelve years old, Kate Kane was schooled in the harsh realities of combat when she, her mother, and twin sister were kidnapped by armed gunmen. Rescued by her military father, Kate was the only apparent survivor of the ordeal, her mother and sister executed.

Kate followed in her father's footsteps, entering the military academy where she excelled in physical and academic pursuits, until lifestyle choices saw her exit abruptly. Returning to her native Gotham City, she encountered the Batman when foiling her own street mugging. Inspired by the dynamic Dark Knight, she created her own modified persona of Batwoman, utilizing the aid and resources of her father in the pursuit of justice. She battles Intergang and the Religion of Crime, who regard her with zealous interest. She also dated and worked alongside Renee Montoya, The Question.

- Little is known of the true identity behind Alice, save that she is a leader of the Religion of Crime, and speaks only in quotations from the works of Lewis Carroll. Her name refers to Alice Pleasance Lidell of Adventures in Wonderland fame, but the esoteric criminal bares no apparent connection to her thematic predecessor in Gotham City, Jervis Tetch (aka; The Mad Hatter).

Serving the prophecy of the Crime Bible, Alice shows particular interest in the exploits of Batwoman. Before plummeting to her apparent death, the villainess uttered a quote suggesting she may in fact be Kate Kane's thought-dead twin sister, Beth.

Math: Batwoman Ranking: Draw (Not Ranked)

What Went Down...
Having hunted her way to the top of the Religion of Crime; Batwoman wastes no time firing a gas pellet at her primary target -- Alice! The compound does it's work, delaying the leader with choking tears, whilst disposable henchman charge head-long into a balletic martial arts assault of neck twisting and gauntlet slashing! The final blow is a stiff punch delivered to the gut of Alice herself.

The caped crusader bundles her newest nemesis under one arm, launching them both into the night air on the end of a powerful grappling line. Their travel brings them to a remote spire at the top of the Religion's church! There; the Batwoman intends to see to the interrogation of her mysterious foe. Alas, in order to do so, she must grant mercy from the effects of the gas which rendered Alice inert.

Alice hurls lines of Carroll, requesting a name, whilst Batwoman throws the villainess' leg-bound knife across the launch to a neutral corner.

The maniacal high mistress of crime proves undeterred by her predicament, staying a strategum of fictional misdirections and curio. Batwoman is not amused by her fancy.

The threat of violence raises the stakes as Batwoman dangles her prey from the jutting turret at the top of the medieval house. A strategy often employed by her predecessor, but rarely with a resulting glee from the threatened recipient. Indeed, Alice reaches smiling toward the oblivion below, forcing Batwoman to recant her threats, and jerk the villainess back toward stone safety.

"I think you might do something better with the time, than wasting it asking riddles that have no answers."

The umpteenth quote tips Batwoman off to the nature of her nemesis, but not to any hidden meanings behind her evasive words, save the obvious.
"How do you know I'm mad?" asks Alice, communicating perhaps more directly than could usually be surmised. The formal introduction is soon interrupted by the arrival of henchman, but a boot heel to a trapdoor has a way of dealing with those sorts. Leaving Batwoman to find new ways to gain the answers she seeks.

The merit of Batwoman's threats goes untested as Alice produces a razorblade from within her own mouth! Poison-tipped and clamped firmly between her teeth, it becomes the instrument of Alice's criminal salvation. A snape of her neck is all that's needed to slice through Batwoman's exposed cheek. The poison goes to work on her equilibrium quickly, leaving her ripe for a stiff boot from Alice.

The High Mistress retrieves her dagger with evil intent, but Batwoman still has the woozy presence of mind to evade her wild swing. Penchant for a landing is less impressive, seeing the poisoned heroine go to her hands and knees. The facade of her long haired wig is the difference between life and death, coming loose in Alice's murderous hands with the grace of a second chance. Batwoman wastes no time taking it, leaping from the turret despite her condition!

Batwoman makes her escape, gliding to the ground below on leather wings. It's a rough landing in the surrounding forest, but one that keeps her alive amidst swirling hallucunations of a traumatic childhood. A trauma that will threaten to play out again when her father recognises her predicament, rushes to her aid, and enters into a gunfight the Religion of Crime. Batwoman will take two shots to the back to rescue her father. She will be helpless to aid him, but other forces will have an interest in this war between good and evil...

The Hammer...
I had a tough time deciding whether or not the latter stages of this confrontation would constitute their own Quick Fix entry, or be included here. I think, as part of a continuous confrontation, they make a nice decider, earning Alice and the Religion of Crime a victory over Batwoman.

It isn't the most auspicious way for a hero to make their debut in the rankings drama of this here Comic Book Fight Club, but frankly, it's lucky we even got that far. I am completing this entry well into October of 2010, which probably tips you off to the state the site's been in for the past year. Suffice to say, the action has been thin and slow, culminating in a grinding hault with the last shipping list of June.

I'm far too stubborn to completely call it quits, but it seems apparent that the enthusiasm I expressed last December just won't be enough to carry the site to regular updates. I suppose now is as good a time as any to thank regular readers and supporters of the site, and assure you that the information it contains will remain live as long as Blogger permits.

Having an issue of the Rucka/Williams collaboration on Detective Comics at the top of my to-do stack was an interesting challenge. I think it's fair to say that it was never in danger of being your average DC comic book, but for me, I'm not sure that's the compliment it was for many other readers.

A frugal reader by necessity; I wasn't compelled to finish this first arc, let alone continue onward into the adjoining Batwoman story. I think it's fair to say that I don't yet have any affection for the character herself, who was overwhelmed by controversy after being announced through mainstream press as a gay heroine, only to tumble out of print shortly after [after the conclusion of 52]. Granted, marketting stunts aren't often the fault of the comics themselves, but it added to the uninspiring hot air that seems to surround this character and her exploits.

The concepts Batwoman tackled in her 52-debut, and beyond, are nice enough, and I think it's reasonably intelligent to try to establish the character with a mind for an independent niche, rather than reducing the concept to female Batman stories. That said, the literary aspirations of Elegy fell short for my tastes, a trait I tend to associate with Greg Rucka's philosophy and manner when approaching writing comics. As the issues unfolded, I found myself increasingly unconvinced by the depth behind the cover of each issue. The Carroll gimmick and it's relation to the story felt more like an unsuccessful attempt at a smoke screen -- a device not quite elaborate enough to make this feel like a developed story, different, or otherwise. It felt a little sophmoric, if I can be so bold. [Not that I'm about to rattle off as comprehensive a list of quotes as Rucka's Alice dialogue!]

I wouldn't be arrogant enough to suggest that it was any kind of confirmation of this assessment of the work, but it certainly came unsurprising that Batwoman would be shunted out of the flagship DC title, and Rucka would part ways with the writing staff. If nothing else, it was almost inconceivable that the company would invest longterm in a Detective Comics without a Batman, even if that fact came a bit more sudden than was expected. You might speculate that it was an abrupt decision to direct the Batwoman scripts toward Detective, with conspiratory clues suggesting it might not have always been devised that way.

It will be interesting to see how Batwoman's future unfolds.
We know, of course, that JH Williams will co-tackle the writing and art chores on an upcoming Batwoman series, which should be very interesting. There've also been those recent DCU appearances in both Grant Morrison's work on Batman & Robin -- which included a meddlesome reference to the Crime Bible that resulted in the brief death of Batwoman [during Blackest Knight] before her Lazarus Pit resurrection; and Justice League: Cry for Justice, which is probably a piece of the canon Batwoman die-hards would be happy to forget, along with many other DC fans...

As reluctant as I am to accept gender-swapped facsimilies, I think there's certainly merit to what was attempted with Batwoman. Whilst sensationalizing the fact did little to create an admirable precedent, we must accept that homosexual characters are as much an absent necessity of plausible fiction as any other grouping, and by putting that trait on such a (potentially) prominent brand, DC made a fair effort. I'd probably rather they administer these types of creations with a bit more accepting non-chalance, which is another criticism I might lay on [Greg] Rucka's shoulders, at least in terms of treatment in the characters' out-of-costume attitude, but it's shared blame.

Kate Kane in her civilian persona takes boystrous to utterly obnoxious levels, flaunting her sexuality in a manner that probably fairly approximates some archetypes, but with the baggage of this character's path to creation, feels more like ham-fisted liberal sentiment rammed through a shallow character. It's needy in it's methodology, shouting pro-gay sentiments like the book is looking for that approval. Which, granted, it certainly seemed to get from some readers.

I'd be remiss if I didn't, in closing, refer to another influence that has a role to play. Darwyn Cooke was recently grilled for expressing his opinion that there's little to be gained from forcing a new sexual orientation or gender on established heroes -- something I personally agree with. His perspective, even when clarified, isn't especially generous to those actively seeking a perceived equality, but is a strong starting point for the creative side of comics.

Killing off classics -- as was done with Vic Sage [The Question] -- in order to shift the role over to a stunt like Renee Montoya, is frought with danger. In these shared corporate universes, it would be nice if new creations could join their ranks, earning their way up. It doesn't share the wealth of the white washed classics, but then, there's a universal truth to the integrity of a consistent creation, especially in a serialized medium. I should note, I'm perhaps paraphrasing Mr. Cooke's words, to add my own take. If you're interested, you should certainly seek out his thoughts, rather than take my word for it.

In closing; this was probably one of the better issues of the Batwoman/Detective experiment, at least in my opinion. Fisticuffs doesn't always make for a better comic book, but in this case, it added some honesty to pages that I feel were unnecessarily elongated. JH Williams has given the character a very distinct and exciting visual take, which might be refined even better with a different script. I look forward to seeing where the character goes with new creators, and hope I will have the opportunity to share that transition with you in future updates. Cheers!

The Fight: 5 The Issue: 4

Batwoman: Elegy is available in a single collected volume.
By using Amazon purchase links provided, you help give back to the site. The Infinite Wars Amazon Shop contains collected editions of most issues reviewed in the five years of Infinite Wars spotlight reviews. You can find more info on all of those in the Secret Archives. Cheers!

BATMAN versus HUSH
Heart of Hush: The Demon in the Mirror (DC)
Where: Detective Comics #850 When: January 2009
Why: Paul Dini How: Dustin Nguyen

The Story So Far...
Thomas Elliot was once the childhood friend of Bruce Wayne, but as they grew apart into adulthood, a parent's constant references to the budding young billionaire fostered a deep resentment in Elliot. Tethered to an ailing mother who survived the severed brakes that killed his father; Elliot's dark urges only grew deeper as she held him to ransom with an inheretence and her ill condition, never passing an opportunity to belitte or berate.

After smothering his mother in a fit of rage, Elliot finally attained the level of freedom he had envied Bruce Wayne for. With his family fortune, Elliot travelled the world, studying various disciplines, before finally fulfilling his dream of practising medicine. A revered surgeon, it was an easy manipulation to return to Bruce Wayne's life when he orchestrated a mortal fall for the Batman, who had unwittingly been subjected to months of hypnotic suggestion.

Dedicated to his vendetta, Thomas Elliot faked his death to remain in Gotham, forever transformed as the villainous underworld figure, Hush. Enduring through battles with other prominent rogues, such as Joker and Poison Ivy, Hush remains a lurking threat present in the shadows of Gotham City and the darkness of Batman's subconscious. At least, he was, until returning to strike at his nemesis once more, this time with the intent to seize Batman's fortune. Once again relying upon a grand orchestration to strike at the Dark Knight from all sides, Hush removes Selina Kyle's heart, forcing Batman to recruit Mr. Terrific and Dr. Mid-Nite in a race to save her life, while Elliot himself enters the sanctum of Wayne Manor under the guise of Bruce Wayne himself. His gambit brings him to the threshold of victory, but the Batman is not so easily manipulated...

Tale of the Tape...
Strength: Batman 3 (Athlete)
Intelligence: Batman 5 (Professor)
Speed: Draw 3 (Athlete)
Stamina: Batman 5 (Marathon)
Agility: Batman 4 (Gymnast)
Fighting Ability: Batman 5 (Martial Artist)
Energy Power: Batman 4 (Arsenal)


- After witnessing the street murder of his parents, the young Bruce Wayne's destiny was forever shaped to be one dedicated to an ideal. Having spent his formative years studying the various sciences, martial arts, and crime fighting techniques, Bruce is ultimately inspired to become the one-man war on the criminal element in Gotham City: Batman.

Perhaps Batman's greatest power is the millions inherited from his industrialist parents, and the various facilities that came with that. They prove crucial in the design and construction of his many weapons, which are typically non-lethal, and have a variety of uses.

Complimented by his keenly strategic mind is Batman's expertise in the martial arts. He is extensively trained in multiple fighting styles, and commonly regarded to be one of the greatest hand-to-hand fighters in the world.
He is also extremely proficient in urban warfare.

- Born into wealth; Thomas Elliot spent his childhood in loathing of his parents. In an effort to gain independence and control of his family's estate, the child orchestrated a murder plot to sever the brakes on his parent's vehicle, after convincing them to pardon their driver. The horrific accident that ensued would bring the socialittes under the knife of Dr. Thomas Wayne, father to Elliot's best friend, Bruce Wayne. The doctor would fail to save Tommy's father, but leave him an ingrate mother to suffer and care for.

As Hush; Elliot is soon revealed to be the manipulator whose influence had led Batman to call upon his services as a surgeon when he suffered head injuries from a fall, also part of Hush's plan. Having teamed with The Riddler and an adult Jason Todd; a spiteful Elliot fulfils a lifelong goal of revenge for the Waynes' part in his mother's survival, and the jealousy felt toward Bruce for living the life he wanted and was constantly measured against. Taking this vendetta to new a level, Elliot underwent radical plastic surgery to alter his appearance to actually look like Bruce Wayne. His disguise failed to fool Wayne's confidants.

Additional: Their only previous reviewed battle was the penultimate chapter of Hush's introduction, in Batman #619. Though Batman technically suffered a physical defeat at the hands of his newest enemy, it was his relationship with Harvey Dent that saw victory slip through Hush's gloves, awarding Batman only an assist.

History: Inconclusive (0-0-1)
Math: Batman Ranking: Batman (#1)

What Went Down...
Foiled in his attempts to fool Alfred into believing him an injured Bruce; Elliot prepares to descend the Batcave with the brutalized butler in tow. Unbenknownst to the villain, Batman was able to escape his crazed staff, returning home to launch a final assault against his arch-nemesis!

Hush fires his twin pistols at the moving shadow of the Bat, jeeringly noting the suitability of their encounter beneath the watchful stare of a painting of the deceased Waynes. Batman strikes silently in retaliation, diving at Hush to send them both tumbling down a hidden stairwell to the Batcave.

On his home turf, the Batman descends from the shadows, disappearing from a landing kick that fails to slow Hush. With his surgical scars beginning to bleed, Elliot wraps his head in his trademark bandages, sticking to the light whilst admiring the magnificence of the secret cave.

Elliot reveals some of the unknown complexities of his history, walking through the trophy area of the cave into the Batman's sights. A stiff left hook does well to snap the killer's face around, but a two-pump burst from his pistols knocks Batman through the glass of one of his trophy domes.

Elliot looms with his guns drawn promising the final blow, but a thunderous "thoom" serves a fitting distraction. Batman pulls himself from the glass, while Hush goes on the hunt for Alfred, who, manning the Batcave computer, shows a steely resilience against Hush's murderous confidence...

... His confidence becomes clear as the cave's model dinosaur lurches to life!
A hail of bullets reduce the towering monster's facade to nothing, exposing the robotic under structure to his shots. It tumbles to a hault, destroyed, but serves a purpose in delaying the villain.

Robin and Nightwing drop from the upper levels, challenging Hush to an acrobatic scrum. Elliot, not without his own combat training, fends off Robin with a kick, while Nightwing leaps over his head. Hush avoids a baton strike, striking Nightwing at the base of the skull a whip of his pistol. Outnumbered, he abandons his plans, instead seeking a means of escape.

Batman reemerges; tossing his cape aside to pursue Hush as he commandeers a one-man autogyro. The Batman leaps onto the bottom of the "whirlybat," clinging gingerly to the contraption as it becomes airborne.

Elliot sneers at his opponent's decision to hang from the machine, taunting him with references to childhood games, whilst gloating over his opportunity to return to claim the Batcave at any time. His words are accompanied with the tip of a blade that slashes the Batman's hand. The last laugh, however, belongs to him.

With Elliot's bandages partly unfurled, the Batman draws his attentions to the hazards of live rotor blades and loose materials. The realisation comes far too late for Hush who becomes entangled as Batman dives into the waters below, leaving his doppelganger to careen out of control into the cave wall in a spectacular explosion.

The Hammer...
With the vital assist provided by Alfred, Nightwing, and Robin, we give to you the first winner of Season 2009: Batman!

Wow! At this point we're running nearly three weeks behind schedule, but it's nice to open the account for the year with a really great recent issue! Christmas was good to us, on the Wars.

"Batman RIP" branched out from the Grant Morrison plotline that pitted Batman against a strange new menace; Dr. Hurt's criminal organization, The Black Glove. The story featured a host of Silver Age touchstones revived for a plot that drove Batman to the edge of insanity and forced him to challenge the very notions of how he operates as a superhero.

The story made international headlines, with major press outlets reporting under the impression that Batman had died in a smouldering helicopter wreck. The truth, however, would prove to be much vaguer. Fans keen to learn the true fate of Batman in "RIP" were steered to Final Crisis, specifically, issue #6, where the final fate of Batman was said to finally be revealed.

Right around this time you might be wondering where Hush factors in.

Initiated fans will be well versed in the marketing strategies of major comics publishers. If one title is gripped by a major storyline, then there's often no reason surrounding titles can't benefit from that same attention.
Admittedly, in it's capitalist principle, it's not a very admirable method of doing business in a creative medium, but I have to give Paul Dini and the gang some measure of credit. Why? Because it's bloody good!

Good logic tells us Heart of Hush probably sits somewhere just prior to Morrison's core story, sharing nothing in common with the psychadelic trip of RIP-proper. Instead, this tale provides yet another emotionally draining struggle for the Batman to overcome. For a dark hero as closed-off as he; dealing with the sight of one of his few loves sliced open and filled with pipes (where a heart should be), is sure to be a particularly disturbing situation. Particularly given his sense of responsibility.

The real triumph of this story isn't what it does for Batman, however. Rather, Dini assures a future for two major supporting characters in Catwoman and Hush, who have returned quickly to the pages of an empty book.

As disappointing as the conclusion to the year-long mystery of Hush was, I have to admit, I haven't had the venom for the character other readers have. Though dependent on conveniences, I felt Jeph Loeb contributed a bold new character to the Batman universe with great opportunity for potential. Potential that has been exploited with a beautiful simlpicity in Heart of Hush, by Dini.

Amidst a fairly typical arc of mental and physical confrontation, Dini and Nguyen lace in further exploration of the character's backstory. What they add really only embellishes what we already know, but does so as an organic step forward in taking the cypher of Hush as a character, and building something more specific around it. This exploration shows foresight for extending the character in both directions -- adding further complexity to Thomas Elliot's origins -- while also redefining his obsession with Bruce Wayne and the nature of his vendetta.

By engaging Batman on such a personal and dramatic level, some might feel Hush, from inception, bares a disturbing resemblence in nature to destructive characters from the mid-nineties (ie; Bane). With this follow-up, however, I think we see the character's future significance assured, even if it walks a tight-rope that will no doubt be exploited in the upcoming Battle for the Cowl. Afterall, a villain who possesses Bruce Wayne/Batman's face is a very intriguing thing, not just for the psychological implications, but his potential to usurp the mantle.

Dustin Nguyen deserves full credit for his work on Heart of Hush.
I've mentioned before that he really does deliver a Batman balanced beautifully between stylized darkness, cartoon simplicity, and hyper-realistic brutality. His style almost seems to mirror a Mignola sensibility, lending itself moreso to action, versus Mignola's skill for moments of still.
Derek Fridolfs (inker) and John Kalisz (colours) also deserve heady praises for interacting with the artist's pencils with a touch that truly enhances the mood of the story, and the art of the pencils. I might miss the grey tones of a more recent gritty era of Detective, but the vibrant and cool colours are welcome.

Nguyen also provides gorgeous cover art that not only lends a unique ink wash finish to his pencils, but possess a design sense that really made these issues of Detective stand-out above the Alex Ross fare of Batman. Superb!

The true fate of Batman is something we'll discuss at a later date. I'm particularly looking forward to getting January traditions out of the way to dive into Final Crisis -- a series I have found myself thoroughly enamored with over the holiday season. From the central issues, to the spin-offs, this is the event that defined 2008!

That's a subject for a later date, however.
Next up: More Batman!? Stay tuned!

The Fight: 5 The Issue: 6

Heart of Hush might just be the best Batman story of 2008!
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