80 Years: 118 Batmobiles In 60 Seconds

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I’ve often been disappointed by infographics or articles entitled “The Evolution Of The Batmobile”, as they tend to be a series of pictures of just a few of the more famous Batmobiles.

For example, one article merely lists a solitary “One From The Comics” amongst the live action ones. They also often show little in the way of actual evolution. Although chronologically accurate, a picture of Neal Adams’ Corvette-based Batmobile, followed by one of the tank from Frank Miller’s The Dark Knight Returns, then one of the 1989 movie Batmobile, doesn’t show an over-arching view of how the Batmobile evolved from an unmodified ’30s coupé to the low-slung, heavily-armoured, angular beast The Batman is driving in the latest Detective Comics. I have tried to express this in the following video, an animation of the shapes of 118 Batmobiles from the past 80 years.

This is not a completely exhaustive list of every Batmobile ever drawn, designed or built, but I have attempted to include as many as I can of the most iconic, influential and long-lived designs to illustrate each stylistic waypoint in the development of the design of the vehicle.

Huge thanks go to batmobilehistory.com for being the definitive source on the subject, meaning 99% of the preliminary research was already done for me, and to the kind strangers who edit DC Database wiki so that any research and comic-trawling I did have to do was relatively painless.

The Evolution Of The Batmobile

(The numbers in brackets indicates the time in the video being referred to. These are timestamped in the description if you view the video on YouTube.)

(0:00) The Batman’s first few vehicles looked like unmodified coupés and roadsters, usually drawn as an amalgam of the higher-end, sporty and classy vehicles of the time. These were often just Bruce Wayne’s personal vehicles used on an extemporary basis by The Batman. Indeed, in the first televised Batman serial in 1943, Wayne drove a convertible 1939 Cadillac, and when The Batman needed it for crime-fighting purposes, he’d merely put the roof up, ostensibly transforming it into the Batmobile.

(0:02) The name “Batmobile” first appeared in Detective Comics #48 in 1941, but this still just looked like a stock coupé, albeit not a specific real-life one. It seems to caricature the designs of a few real-life contemporary coupés, as well as adding a few bat-touches, such as the bat-shaped hood ornament which would become a recurring feature over the years.

(0:03) The Batman got his own comic in the early ’40s, and with it came a new look for the Batmobile. It no longer looked like a production car and was characterised for the next 20 or so years by a large battering-ram on the front grill in the shape of The Batman’s cowl, and over-sized bat wing-shaped fins on the rear.

(0:05) The iconic dome-shaped canopy appeared 1950. In 1954 this became a separate bubble-dome cockpit, another feature that would persist, on and off, over the years.

(0:07) As fashions changed in the real-world, The Batman had to follow suit. The Batmobiles of the mid-’60s eschewed the designs of the ’40s and ’50s in favour of the curves of contemporary sports cars, and while some iconic features such as the fins and bubble-dome remained, these were dialled back considerably.

(0:09) In 1966 the new live-action Batman TV series needed a new Batmobile design. It was based a ten-year old concept car, the Lincoln Futura, which already had features like fins and a bubble-dome. The striking angular design went on to influence the designs in the comics for the rest of the ’60s, and to a certain extent the design in the animated The Batman/Superman Hour.

(0:12) From 1969 there was a shift in tone of the comic books and The Batman moved away from the camp of the ’60s. In order to help him keep a low profile while moving around Gotham, he started driving a series of “nondescript” vehicles based on, and occasionally identical to, sports cars of the time.

(0:16) Occasionally, as the ’70s dragged on, the bat wing-shaped fins and bubble domes made an understated attempt at a comeback, appearing on otherwise relatively practical roadsters.

(0:18) The 1978 Challenge of the Superfriends cartoon’s Batmobile consolidated some of the easily recognisable hallmarks of the previously televised Futura-inspired Batmobiles with the sleeker up-to-date look of the ’70s roadsters, and this design endured in one form or another for around 9 years.

(0:19) It seems that somebody finally realised that the car of world’s richest crime-fighter, full of high-tech gizmos and jet engines and the like, might just look a little more advanced than a production car with a fibreglass bat wing on it. The Batmobile of the late ’80s comics took on a futuristic wedge-shape and started to look more like a spaceship on wheels.

(0:22) Pre-empted (just) by 1988’s The Killing Joke, the big-screen Batman (1989) saw a return an Art Deco aesthetic that would influence a trend which would balance the huge fins and bat-masks of the ’40s with the sleek designs of the late ’80s comics. The decopunk Batmobiles reigned up until the late ’90s and remain a touchstone today.

(0:30) After the excesses of the ’90s Batmobiles, the early 21st century saw a move back to practicality. Although still influenced by the decopunk Batmobiles, these designs were short enough to park, the fins more modestly sized, and there was at least a measure of ground clearance.

(0:32) By the mid ’00s, it seemed fairly well established that, in the comic books at least, The Batman had more than one Batmobile in active duty at any one time, with the designs varying sometimes wildly from month to month, sometimes even within the same story arc. Some appeared to be redesigns of ’90s Batmobiles, but the trend seemed to be leaning toward hulking sports cars that looked fast as well as fairly well armoured, although the impractically big bat wings appeared to be periodically back in fashion.

(0:38) In the third season of The Batman, the Batmobile is replaced by a faster, more streamlined car reminiscent of the classic design in the ’90s animated series. There were a few sleek designs similar to this around the mid ’00s before the comics returned to the armour-plated muscle car look.

(0:43) Although the idea had been toyed with before, Christopher Nolan’s Batman Begins dragged the idea of a half-tank Batmobile into the mainstream consciousness, as part of a more realistic and believable vision of Batman. The popularity of this ensured that a speedy but well armoured Bat-tank would occasionally appear as The Batman’s ride for the next few years, and the idea that The Batman would use a heavily armoured vehicle continues to influence, even on more traditional designs, to this day.

(0:46) Perhaps to contrast with the stark grittiness of the Nolan films, the 2008 TV series Batman: The Brave And The Bold featured a sporty new Batmobile inspired equally by the sweeping designs the of the ’90s and ’00s animated Batmobiles and the bubble-domed roadsters of yesteryear. This was reflected in the comics, too, as they returned to low-slung, cartoony racers…

(0:48) …Which evolved into the flying Batmobiles of 2009-2010.

(0:50) Other designs of the early ’10s sought to consolidate the modern designs with the toughness of the contemporary Tumbler still being used in the Nolan trilogy, and the instant recognisability of the Furst design.

(0:51) 2011’s New 52 established beyond a doubt that the Batman had multiple vehicles to cover every eventuality. Amongst some very familiar redesigns, this iteration of the Batman favoured modern takes on some classic elements that we hadn’t seen for a while: wedge-shaped roadsters or squat muscle cars with vintage bubble-domes or even the odd classic open-top.

(0:57) With Batman returning to the more mainstream media of cinema and video games, from 2015 onward we returned to what the general public might have viewed as the most ‘modern’ style of Batmobile: the tank. This generation of tank-Batmobiles tended to be more streamlined, and with more nods to the traditional Batmobile shapes than before.

(0:59) We finish with the current (at time of writing) Batmobile which has been used across the Rebirth comics since 2016. It is almost the quintessential Batmobile, being an update of the one used in the ’90s Animated Series, which itself was based on perhaps the most iconic of Batmobiles, Anton Furst’s design for the Tim Burton movies, which in turn was inspired by the Art Deco curves of Bruce Wayne’s coupés in the ’30s, and the large fins of the ’40s and ’70s. It has been brought into the 21st century with Tumbler-inspired open wheels and heavy armour plating, but retains a ’50s-style cowl-shaped battering ram on the front grill, giving a nice hat-tip to almost every decade of Batmobile design for the last eighty years.

Appendix

For those who are as obsessed as myself, these are the details of each Batmobile included in the video. For those with even a margin of sanity, it’s fair to say the interesting bit is over, and it’s probably best to stop reading. Maybe watch the video again, instead.

# First Appearance Original Artist* Notes
1 Detective Comics #27 (1939) Bob Kane First appearance, first car. Unmodified coupé.
2 Detective Comics #30 (1939) Bob Kane “Specially Built High-Powered Auto.”
3 Detective Comics #35 (1940) Bob Kane/Jerry Robinson
4 Detective Comics #48 (1941) Bob Kane First appearance of the name “Batmobile.”
5 Batman TV series (1943) 1939 Cadillac
6 Batman #5 (1941) Jerry Robinson
7 Batman #20 (1943) Dick Sprang
8 Batman dailies (1943) Bob Kane
9 Batman #47 (1948) Dick Sprang
10 Detective Comics #156 (1950) Dick Sprang
11 Batman #73 (1952) Dick Sprang
12 Detective Comics #204 (1954) Sheldon Moldoff
13 World’s Finest #77 (1955) Curt Swan/Dick Sprang
14 Batman #156 (1964) Carmine Infantino
15 Detective Comics #356 (1966) Sheldon Moldoff
16 The Brave & The Bold #68 (1966) Mike Sekowsky
17 The Brave & The Bold #70 (1966) Johnny Craig
18 Batman TV series (1966) 1955 Lincoln Futura
19 Detective Comics #362 (1967) Sheldon Moldoff
20 Detective Comics #364 (1968) Sheldon Moldoff
21 Detective Comics #371 (1968) Gil Kane/Sid Greene
22 Detective Comics #377 (1968) Frank Springer
23 The Batman/Superman Hour TV series (1966)
24 Detective Comics #394 (1969) Bob Brown
25 Batman #220 (1970) Irving Norvick
26 Detective Comics #400 (1970) Neal Adams
27 Detective Comics #430 (1972) Frank Robbins
28 Batman #247 (1973) Dick Giordano
29 Detective Comics #434 (1973) Irving Norvick
30 Batman #258 (1974) Irving Norvick
31 Batman #267 (1975) Ernie Chan
32 Detective Comics #452 (1975) Ernie Chan
33 Batman #272 (1975) José Garcia-Lopez
34 Detective Comics #471 (1977) Marshall Rogers
35 Challenge Of The Superfriends TV series (1978) Hanna-Barbera
36 Batman #382 (1985) Rick Hoberg
37 Batman #408 (1987) Dick Giordano
38 Detective Comics #589 (1988) Norm Breyfogle
39 Detective Comics #591 (1988) Norm Breyfogle
40 Detective Comics #607 (1989) Norm Breyfogle Used for 7 years in the Detective Comics.
41 Suicide Squad #40 (1989) Geof Isherwood
42 Batman 3D (1990) John Byrne
43 The Killing Joke (1988) Brian Bolland
44 Batman movie (1989) Anton Furst Also used in Batman Returns (1992) movie.
45 Legends Of The Dark Knight #15 (1991) Paul Gulacy
46 Gotham Nights #3 (1992) Mary Mitchell
47 Batman: The Animated Series TV series (1992) Shane Poindexter
48 Legends Of The Dark Knight #29 (1992) Matt Wagner
49 Batman: Run, Riddler, Run #2 (1992) Mark Badger
50 Batman #484 (1992) Tom Grindberg
51 Legends Of The Dark Knight #42 (1993) Philip Craig Russell
52 Batman Annual #17 (1993) Eduardo Baretto
53 Legends Of The Dark Knight #64 (1994) Chris Bachalo
54 Batman/Judge Dredd: Vendetta On Gotham #42 (1993) Cam Kennedy
55 Batman Forever movie (1995) Barbara Ling
56 Batman: Manbat #1 (1995) John Bolton
57 Batman #526 (1996) James H Williams III Used for 12 years in the Batman comics.
58 Batman & Robin movie (1997) Barbara Ling
59 The New Batman Adventures TV series (1997) Bruce Timm
60 JLA/WildC.A.T.s (1997) Val Semeiks
61 Detective Comics #742 (2000) Shawn Martinbrough
62 Legends Of The Dark Knight #130 (2000) Sergio Cariello
63 Legends Of The Dark Knight #156 (2002) Val Semeiks
64 Arkham Asylum: Living Hell #6 (2003) Ryan Sook
65 Batman: City Of Light #2 (2004) Arnold Pander/Jacob Pander
66 Legends Of The Dark Knight #175 (2004) Chris Brunner
67 Detective Comics #788 (2004) Mike Lilly
68 Wonder Woman #204 (2004) Mike McKone
69 Teen Titans, Vol 3 #9 (2004) Drew Johnson
70 Batman #629 (2004) Dustin Nguyen
71 The Batman TV series (2004)
72 Batman #632 (2004) Kinsun Loh
73 Gotham Knights #60 (2005) Javi Pina
74 Batman #637 (2005) Doug Mahnke
75 All Star Batman & Robin: The Boy Wonder #1 (2005) Frank Miller
76 The Batman TV series (2005)
77 Justice #2 (2005) Alex Ross
78 Legends Of The Dark Knight #198 (2006) Chris Weston
79 Batman: Sectrets #1 (2006) Sam Kieth
80 Batman #652 (2006) Don Kramer
81 Man-Bat, Vol 3 #3 (2006) Mike Huddleston
82 Detective Comics #823 (2006) Joe Benitez
83 Batman Confidential #2 (2007) Whilce Portacio
84 Batman #676 (2008) Tony Daniel
85 Batman & The Outsiders #7 (2008) Julian Lopez
86 Batman Begins movie (2005) Christopher Nolan/ Nathan Crowley “The Tumbler”; never referred to as a Batmobile. Also used in The Dark Knight (2008) and The Dark Knight Rises (2012) movies.
87 Batman And The Monster Men #5 (2006) Matt Wagner
88 Batman And The Mad Monk #5 (2007) Matt Wagner
89 The Batman TV series (2007)
90 Gotham Knight movie (2008) Bee Train Used in the “Field Test” segment.
91 Batman: The Brave And The Bold TV series (2008) Art Lee
92 Batman And The Outsiders #14 (2009) Ryan Benjamin
93 Batman #684 (2009) Guillem March
94 Batman: Arkham Asylum video game (2009) Rocksteady Studios
95 Batman: Battle For The Cowl #3 (2009) Tony Daniel
96 Batman And Robin #1 (2009) Frank Quietly
97 Nemesis: Imposters #4 (2010) Cliff Richards
98 Batman: Odyssey #1 (2010) Neal Adams
99 DC Universe Online: Legends #2 (2010) Howard Porter
100 Batman: The Return #1 (2011) David Finch
101 Batman: Noël (2011) Neal Adams
102 Detective Comics, Volume 2 #1 (2011) Tony Salvador Daniel
103 Batman: The Dark Knight #8 (2012) Ed Benes
104 Batman, Vol 2 #9 (2012) Greg Capullo
105 Batman, Incorporated #11 (2013) Jorge Lucas
106 Beware The Batman TV series (2013)
107 Batman And Robin, Vol 2 #21 (2013) Cliff Richards
108 Batman Eternal #25 (2014) R. M. Guéra
109 Detective Comics, Vol 2 Annual #2 (2013) Scott Eaton
110 Batman And Robin, Vol 2 #25 (2013) Patrick Gleason
111 Detective Comics, Vol 2 #29 (2014) Aaron Lopresti
112 Son Of Batman movie (2014)
113 Batman Vs Robin movie (2015)
114 All-Star Batman #10 (2017) Sebastián Fiumára
115 Batman: Arkham Knight video game (2015) Rocksteady Studios
116 Batman: The Telltale Series video game (2016) Telltale Games
117 Batman Vs Superman: Dawn Of Justice movie (2016) Patrick Tatopoulos Also used in the Suicide Squad (2016) movie.
118 Batman, Vol 3 #1 (2016) David Finch

*In most cases, this is the original designer of each particular Batmobile. However, where I am unsure of where a specific design originated, I have included the name of the penciller who worked on the issue of the first appearance.

Please bear in mind these are my own interpretations of the designs. Sometimes exact details can change from panel to panel even in the same comic. Also, the drawings are not necessarily to scale with each other. This is mainly an aesthetic decision so that everything fits nicely in the frame. Some of the designs would seem quite insignificant if drawn to the same scale as the 33′-long Batman & Robin Batmobile (#58), for instance.

While I have tried to keep this list fairly chronological, I have tried to keep a certain thematic evolution, so there are a few omissions and anachronisms:

– The Batman Serial Cadillac (#5) should appear after the first of Robinson’s designs (#6), but as an unmodified ’30s sports car, it belongs alongside the earlier Batmobiles, while Robinson’s was the first design with the bat-mask battering-ram and ridiculously large tail fin that the rest of the ’40s & ’50s designs were based on.

– Bob Kane’s Design for the dailies (#8) was published before Dick Sprang’s version that it was based on (#7)

– The ’66 Live-Action Lincoln Futura (#18) should appear before some of the ’60s comic book designs (#15-#17), but as these were basically variations on the earlier comic book design (#14) and the Futura would go on to influence the designs in the comics after that, it belongs as the first of the Futura-based designs.

– I’ve completely ignored the ’73-’77 cartoon series Superfiends‘ Batmobile as it is virtually identical to the ones used in the comics 5 years earlier (#20 & #21) and to add it chronologically wouldn’t show a true evolution of the design as the comic books were slap-bang in the middle of their “nondescript” sports car wave of the ’70s.

– Frank Miller’s ’87 The Dark Knight Returns‘ Bat-Tank has also been omitted as, at this point, iconic as it has now become, as it was not part of any immediate evolutionary arc for the Batmobile, other than perhaps inspiring the following year’s monster-truck Batmobile in The Cult. Its influence can, however, be seen in more recent heavy-duty Batmobiles such as the Tumbler from Batman Begins (#86), the Arkham Knight tank (#115) et al.

– Things start to get a little confusing as we move into the ’90s, as the comics, graphic novels, films and animated series all start pulling in in different stylistic directions. The Batmobile has undergone almost three times as many redesigns in the last 30 years since 1990 than it did in its 50-year existence preceding that. As the late ’80s comic book Batmobiles were evolving into a futuristic wedge, other contemporary media such as Brian Bolland’s graphic novel The Killing Joke and Tim Burton’s Batman movie were returning to the style of the classic ’40s large-finned Batmobiles, though these went on in turn to influence later designs. Therefore, I have bunched the wedge designs of the ’88-’90 comics (#39-#42) together, then returned to ’88 and ’89 for the Killing Joke (#43) and movie (#44) Batmobiles respectively.

-I’ve had to ignore the Batman: Shadow of the Bat series of comic books as Breyfogle was sticking with his wedge-shaped retro-futurist spaceship-looking Batmobile during ’93 to ’96 whilst the Batman comics (with the exception of Mike Manley’s design in Batman 503) and the Legend of the Dark Knight comics, along with the animated series and later movies, were sticking with the Neo-Art Moderne stylings of the ’89 movie Batmobile (#44). Stylistically, the Shadow of the Bat Batmobile carries on from Breyfogle’s ’89 design (#40) but chronologically is contemporary with designs #48 through #54.

– The Vendetta in Gotham Batmobile (#54) would actually have appeared ten months before the Legends of the Dark Knight issue 64 version (#53). I have swapped them round for purely aesthetic reasons. (The Vendetta… Batmobile is a slightly less extreme version of Simon Bisley’s design in Judgement on Gotham, two years earlier.)

– A few of the Batmobiles in the comic books throughout the ’90s really went all in for the retro look. For the most part, these designs have been ignored as they are mostly just re-drawings of previous designs from the ’40s and ’50s. Similarly, into the ’00s every different comic or graphic novel seemed to have a different take on the Batmobile, so where these are just minor re-designs of earlier vehicles, they too have been omitted.

– When Batman Begins popularised the tank-like Tumbler (#86) in 2006, it didn’t immediately change the world around it like Anton Furst’s design had in 1989. For a while around ’06-’08 the comics stuck to a simpler muscle car look, so I have grouped these together (#80-#85), and placed the more tank-like designs from the same ’06-’08 period after them (#86-#90). In way of compensation for the earlier omission of the archetypal Bat-tank from The Dark Knight Returns, the very similar tank from “Artifacts”, the heavily DKR-influenced episode of The Batman which aired in 2007, appears amongst them (#89).

Batman: Noël (#101) was published after the introduction of the New 52 (#102 onward) but stylistically it acts as a bridge between these and the earlier movie-influenced designs.

– I have swapped #106 and #107, again for purely aesthetic reasons.

– The Batman Vs Robin Batmobile (#113) is a natural progression from the one used in Son Of Batman (#112) so I have put them together, even though the Batman Eternal car (#108) strictly speaking appeared between them, rather than a year earlier where I have put it just because I think it looks better there.

– Another swap just for aesthetic reasons, #117 was seen by the public a few months before #116.

– The most recent “new” Batmobile is the one from All-Star Batman issue 10 (#114) however I have not placed it at the end, because I wanted to finish on the Rebirth Batmobile (#118) which is still being used in the Batman and Detective Comics as Batman’s main mode of transport, appearing most recently (at time of writing) in Detective Comics issue 1009. As it was no longer in order anyway, I took the liberty of pushing the All-Star Batmobile back a bit further to where it fits in nicer with the animation.

– I finished the animation a few months ago, so a couple of the most recent Batmobiles have been missed off, most conspicuously, the one from 2018’s Titans TV programme. Other interesting recent Batmobiles are the retro ’60s looking one from the flashback in Batman Volume 3 Issue 64 and Thomas Wayne’s Batmobile which appears in issue 75 of the same run.

Detective Comics #28: “Frenchy Blake’s Jewel Gang”

Detective Comics Vol 1 #28, June 1939
“Frenchy Blake’s Jewel Gang”

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“There’s not going to be room on this header for my full name. What’s that thing that everyone calls me for short? Robt?” – Bob Kane, presumably.

If you’ve ever played any of the Arkham series of games, you will know that with the faintest twitch of your trigger finger, Batman will fire his grapple-gun and almost instantly be propelled to safety, or abruptly catapulted over a skyscraper. In The Animated Series, when someone is falling to their death, it takes Batman just moments to lasso a nearby gargoyle and swing to their rescue. Or who can forget the scene in Batman Begins where Batman takes on Falcone’s thugs at the the docks, using a succession of ropes to rappel swiftly and silently in and out of the fight to awesome and terrifying effect?

 

Okay, so I’ve just listed three things that are better than anything that happens in this issue, but when the Bat-Man uses the batrope for the first time to evade capture by the police, it literally makes the headlines. Well, fictionally makes the headlines. It literally makes the fictional headlines. Whatever.

Hang on, why’s the Bat-Man fleeing the police? I thought he was the good guy, right? Well, hold on bat-fans, because this month’s story is chock-full of overly-laboured intrigue!

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Wuxtry! Wuxtry! Very first panel sends blogger straight to dictionary for ’30s slang! Wuxtry!

The strip starts with Bruce Wayne, tired of the spate of multi-thousand dollar jewel robberies going down on his turf, shaking down a police informant. And by shaking down, I mean pretending to be the commissioner over the phone, and simply asking him who’s responsible. The informant, the aptly-named Gimpy, sings like a canary and gives Wayne every last detail about the heists, as well as where and when the next one is occurring. The World’s Greatest Detective has done it again! Why didn’t the police think of doing that after the first robbery?

Joking aside, this shows that already the Bat-Man has a lot of inside intelligence on the criminal underground and somehow has access to information that only the police should have. I mean, surely the identity of police informants isn’t usually common knowledge. The “bored socialite” Bruce Wayne is evidently holding more cards than we’ve yet been shown.

2-3That night, the jewel thieves appear on the roof of the Vandersmith’s apartment, just as Gimpy predicted. Suddenly, quote: “like a huge bat, the figure of the ‘Bat-man’ sails through the air,” unquote. (Like a bat, eh? Now you mention it, I can start to see a similarity. He should call himself “The Bat-Man” or something.) One of the thieves, Ricky, finding it very inconvenient that a six foot bat-creature has landed on top of his mate, draws a knife. The Bat-Man takes exception to this and immediately throws Ricky from the rooftop with extreme prejudice, taking his kill-count to two. (That’s including last issue’s chemical syndicate boss. Yes, I’m keeping record.)

The Bat-Man knocks out the other thief just as the police arrive. It seems the cops had finally cottoned on to the idea of investigating the robberies, presumably leading to a confused Gimpy saying to Commissioner Gordon, “but I’ve just told you all of this!”

The Bat-Man hangs around just long enough to implicate himself before fleeing the scene in a most spectacular fashion. He somersaults down to a lower level before using his batrope to swing a tremendous distance to the safety of a lower building, leaving both the police and the press suitably impressed.

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It’s over in less than a page, but it’s a pretty cool sequence. Okay, so it’s hardly Superman-lifting-a-green-sedan-above-his-head-and-smashing-it-on-a-rock-levels of exciting, but in some ways it’s better. Its simplicity and plausibility is what makes it; you can almost imagine that someone could actually do it. And don’t forget, kids in 1939 hadn’t seen that dock-yard scene in Batman Begins, nor were there any parkour videos up on YouTube yet. What the Bat-Man just did was awesome.

What he’s also done is purposefully incriminate himself in the jewel thefts so that the police go after him, making the real thieves think they’ve got away with it scot-free and tricking them into letting their guard down. Not only does this plan not really make any sense, but my word is it laboured. Almost every other panel has a caption saying things like, “[the police] ‘seem’ to ‘surprise’ the ‘Bat-Man’ who ‘drops’ the bag of jewels,” (seriously with that level of punctuation – I can imagine the narrator doing sarcastically over-the-top air-quotes as he’s saying it.) And when the police decide the Bat-Man must be involved in the thefts, “this is exactly what the ‘Bat-Man’ wants them to think – we’ll see why in a moment,” followed by, a couple of panels later, “this is why the ‘Bat-Man’ wanted to be connected with the robberies…” I’m aware this is a story for kids, and any complications or twists might need to be spelled out a little, but if you need this level of hand-holding to get through a story, maybe you’re not ready for something as complicated as “detective” comics. I mean, it’s one little deception, it’s hardly Primer.

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Bat-sass!

Actually, maybe we do need that bit of extra confirmation because although it makes sense on the surface, when you think about it, this plan completely falls apart. Because the gang think they’re not being watched, they plan another theft, which the Bat-Man is free to intercept. But that’s exactly the position he was in anyway, the night before, on the Vandersmith’s roof. I’m struggling to see how deceiving the police and the jewel gang has offered any advantage at all, other than wasting a day and giving him the opportunity to ponce about in the air a bit for the entertainment of the journalists at The Tribune. We’re honestly no further with the case than we were at the top of the very first page when Gimpy explained literally everything.

The Bat-Man proceeds to thwart that evening’s crime while in progress at the Nortons’, whoever they are. He leaves the two culprits unconscious, tipping off the police by phone before leaving to deal with the mastermind behind the entire raft of thefts: Frenchy Blake.

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Interestingly, it seems the Bat-Man doesn’t refer to himself as such just yet, preferring to sign his name using just a symbol, much like his idol, Prince.

Blake is a dapper, pointy-faced gentleman with a monocle, who is somehow solely responsible for the jewel thefts, although other than saying, “let’s continue with the plan,” all of his crimes must’ve occurred off-page. Whatever his offences, the Bat-Man is sick of his shit and bursts into his apartment to beat him to a pulp. He then tortures a confession out of him in the first occurrence of what is now a very familiar battribute: dangling the suspect out of a very high window until they blab.

With the gentle persuasion of a few more right hooks to the jaw, Blake agrees to draft and sign a full confession. The Bat-Man hogties him and leaves him outside the police station along with the confession and the stolen jewelry, thus bringing the reign of Frenchy Blake’s Jewel Gang to a swift end.

It’s been and odd issue, really. When Batman’s being Batman, it’s actually pretty cool, but sadly the story isn’t as clever as it seems to think it is. Luckily these early stories are mercifully short, although it does give a nice picture of the Batman working above the law, showing that he’s not afraid to even go against the law if he needs to, to achieve what the police maybe couldn’t.

Detective Comics #27: “The Case Of The Chemical Syndicate”

Detective Comics Vol 1 #27, May 1939
“The Case Of The Chemical Syndicate”

A0E1.tmp.png“The World’s Greatest Detective.” To a modern audience, this is probably one of Batman’s lesser-known epithets. He’s now better known to the cinema-going public as a card-carrying ultra-hero who drives flashy flying cars and is mates with gods and fish-people and the like, so it’s easy to forget that he cut his teeth punching fat, balding executives in three-piece suits and solving tediously-titled mysteries such as this.

Buck Marshall
An example of some actual detective work by Buck Marshall – Range Detective.

But that he makes his debut in issue 27 of Detective Comics ostensively makes Batman a detective first and foremost. This intrigues me. It’s not a side of the Dark Knight that I’m overly familiar with, so I’m ready for some classic noir intrigue and sleuthing. To whet my appetite further, Detective Comics #27 opens with a page of facts and quiz questions about real police cases and forensic techniques.

Sadly, all might not be quite what I’ve built it up to be. A quick glance at the other characters in the book show that it doesn’t take much to beat them to the title of

Cosmo, The Phantom Of Disguise
I’ve no idea what they’re saying, I don’t speak Mandarin.

“World’s Greatest Detective.” In addition to the most all-American-sounding name I think I’ve ever heard, Buck Marshall – Range Detective displays some fairly impressive tracking abilities, but other than that, the detectives in Detective Comics #27 leave a little to be desired. Bart Regan‘s M.O. appears to be pointing at bodies saying, “He’s dead! Oh… and this guy’s dead, too. And this one, I think he’s dead as well,” while ace investigator Speed Saunders solves a mystery by staring down a woman’s top, and the less said about Cosmo, The Phantom Of Disguise‘s Chinese impression the better. The bar is set low – what can we expect from the all-new caped detective?

Speed Saunders
Speed Saunders, detecting… something.

Batman’s first appearance opens with the police commissioner, Gordon, having a smoke with his young socialite friend, one Bruce Wayne, and musing over the puzzle of “this fellow they call the ‘Bat-Man’,” (Batman isn’t Batman yet, he’s still very much The “Bat-Man”) when the commissioner gets a phone call. Old Lambert’s dead! (Not Old Lambert!) And his son’s prints are on the weapon! (Not Young Lambert!) Gordon invites Wayne to the murder scene, because that’s apparently where young socialites liked to hang out in 1939, and off they scoot in a nice red coupé.

It turns out it wasn’t Young Lambert who killed his father. Instead, someone broke in, opened his safe then stabbed Old Lambert and his son found him just in time to get his fingerprints on the knife and hear his last words, “contract, contract.”

Sock!
Sock!

The police investigate Lambert’s former partners in the chemical industry only to find out someone’s been handing out death threats to the lot of them. Pretty soon, Lambert’s first associate, Crane, is shot dead and as the perpetrators try to escape with a paper they’ve taken from Crane’s safe, they are apprehended by a mysterious figure. The Bat-Man proceeds to knock seven shades out of the pair of them, seizes the stolen paper and disappears before the filth turn up.

Meanwhile, Lambert’s two remaining associates, Rogers and Stryker, learn of the deaths and plan to meet up at Stryker’s lab. Rogers arrives at the lab where he is knocked out by Stryker’s assistant, and put in some sort of bell jar-cum-gas chamber contraption. Why he couldn’t have just shot or stabbed him like the others is anyone’s guess, but this is a convoluted means of execution befitting a Batman Villain.

Sock Too!
Sock!

Luckily, The Bat-Man is on hand to smash open the glass and rescue Rogers, much to Stryker’s chagrin, who threatens to toss him in a nearby and conveniently accessible acid vat. Not having any of it, The Bat-Man blithely socks Stryker into the acid bath instead and fucks off.

It turns out Stryker was buying the company, Apex Chemicals, from the other three in yearly installments, and decided it would be cheaper to knock them off and become the sole owner that way. He was stealing back the contracts he’d made to cover his tracks. Edge-of-your-seat stuff this isn’t.

Overall, apart from the action scenes, it’s pretty dry. The exposition is at the same time sudden and wordy. The reader is encumbered with lists of names to remember. And the mystery isn’t even that good. The World’s Greatest Detective basically solves his first case by witnessing it.

Ruthless Bat-Man
The Bat-Man’s respect for the sanctity of all human life apparently comes later, with the ears.

Still, while it’s hard to imagine even a 1930s kid getting excited at the tale of corporate backstabbing, it’s not difficult to see why the character of the Bat-Man captured imaginations and endured. From the very first header panel he’s a menacing figure, stood on the roof tops, silhouetted against a full moon. He’s always right behind you, striking from the shadows.

Even in his first appearance, The Bat-Man is fairly fleshed out and recognisable as the character we know today. Although he doesn’t do so in the story, on the front cover he’s seen swinging through the sky on a rope, which, although nowadays he tends to use his grapple gun, is basically the defining Batman action. The suit’s all there, too: grey with a bat insignia on the chest, black cape and a yellow utility belt, although the cowl is a bit of a weird shape. The ears are so low down the head that sometimes, in profile, you can’t see them at all, which for some reason, I find really unsettling. It’s good to see that Commissioner Gordon has been there right from the very first panel. There’s also an instantly recognisable Bat-trait near the end when, after having had his life saved, Rogers turns to thank The Bat-Man, but he’s already disappeared through a skylight into the night. Nice.

Classic Batman Exit

Okay, so The Bat-Man murders a man in cold blood, without trial, which is about the most un-Batmanlike thing you can do save doing it with a gun, but other than that.

At the very end we are treated to a reveal. The identity of The Bat-Man! Remember that weird guy who likes to lurk behind the police commissioner and chill out at murder scenes? Wayne… something, I think his name was. Well, anyway it was him all along. Wow!