The Splash Page Made Me Buy the Comic!

Martinex1:  We have frequently discussed covers that have made us buy a book, and there are indeed numerous examples of the great and colorful cover art that caught my eye from across a room.   But today let's talk about some of the splash pages that captured my attention.

As a kid purchasing comics in the late '70s on a very limited allowance, I typically circled a spinner rack numerous times as I considered all of the options for my precious fifty cents or dollar.   Sometimes even my favorite titles didn't totally draw me in and had to compete against all of the other four-color choices.  It wasn't always a slam dunk that I would buy Avengers, Fantastic Four, or the Amazing Spider-Man.  Sometimes the store proprietor wouldn't want me to flip through the book's pages but when given the chance I definitely took a peek to get a glimpse of the story.  And often it was the splash and not the cover that sealed the deal.  Here are a few examples of those experiences from my early collecting days:

One of the very first comic books I purchased was Avengers #164, the start of the Count Nefaria conflict, so it would seem natural that I would grab issue #165 as soon as it hit the rack.   But that wasn't the case at all.  I have to admit that today when I look at the George Perez art for that cover I admire it, but when I was nine-years old it did not grab me.   I can clearly remember thinking how small the team members were on the cover.  And I did not like the floating red Nefaria head screaming at them.  And on top of it, the white logo and lower right corners were a bit mottled from the printing.  Where was the hand-to-hand combat that I was expecting?  Where was the epic battle following the closing moments of #164 when Nefaria absorbed the strength of Power Man, the speed of Whirlwind, and the energy of Living Laser?  But once I opened the book, the John Byrne splash page answered all of my questions!  Nefaria just decked Captain America and Black Panther easily and he is totally unscathed; the villain is just standing there gloating.  This is going to be a huge fight; he's going to kill them all!  At least that is how I interpreted it in my youth.   As it turned out, I am glad I saw the splash page and snatched that issue up because the Count Nefaria storyline has remained my all-time favorite.  Looking back at the art, it may not have been Byrne's best but I loved it.  Here is the cover and splash of which I speak:

 

That very same month, August of 1977, nearly the same thing happened to me with the Fantastic Four.   However, this had a bit of a twist.  I had previously read the Len Wein penned and George Perez penciled FF issue #187.   I was mesmerized by the team's battle with Klaw and the Molecule Man.  That book had so much great art and suspense that I just could not put it down.  The last page overwhelmed young me.  It was monumental and shocking when down-on-his-luck Reed Richards picked up the mystical rod and transformed into the Molecule Man himself!  I know that I stared at that page for a long time.  Reed looked so creepy.   I looked at his jagged lips and his treacherous scowl and I just had to have the next issue.   What a great cliffhanger!

But when the next issue showed up at our local pharmacy, I was seriously underwhelmed by the cover.   "Seriosuly!  They are fighting a giant walking building!  How dumb!" young me thought at the time, "It looks like a silly cartoon not a dangerous battle. It is not scary at all."   In retrospect, it reminded me of one of those Twinkie advertisements we talked about a couple of days ago.  And again, the white background did not help.  It was a struggle to buy that book; it really was.  What carried me through was the memory of the closing splash of #187.   That crazy Reed in the green costume stuck in my head; so the previous issue's final splash made me buy issue #188.  Here they are for your viewing pleasure:

 

Hey!  Wait a minute!  That is bizarre!

The final example for today's post is Marvel Team-Up issue #70 that was on sale in March of 1978.  It had a perfectly fine cover and in fact I liked the cover a lot.   It was dynamic and cinematic.  I just wasn't particularly a Thor fan at the time so I wasn't convinced.  But when I flipped it open, the John Byrne art took my breath away.  I had seen giants numerous times in comics before, but this one looked monstrous crashing through the building, scaring the citizens, and getting ready to put a squeeze on the tiny Spider-Man in his right hand.  I had to have it!  Looking at it now, the inking is a little overdone for my taste.  It still packs a wallop, but I cannot take my eyes off the citizen in the foreground who looks like a zombie.   When I was young, I could only focus on the size of the Living Monolith.   Take a gander.

So there you have it - three splash pages that captured my cash. I cannot explain what hit me on such a visceral level, but it was definitely the interior art that I so clearly remember doing so.  What do you think?  Do you have any examples that you would like to share?   Cheers all!

Buried Treasures: Aurora Comicscene Model Kits

Redartz:  Greetings, everyone!  Under the banner of "Buried Treasures", we have been treated to glimpses of various Bronze Age rarities pulled from the dust of time (and storage box). Today I'll share a story of 'buried treasure' which might be better described as a 'reacquired treasure': the 1974 Aurora Spider-Man model kit, and it's accompanying comic.

 In 1966 Aurora Plastics started a line of model kits featuring superheroes from Marvel and DC, including Superman, Batman, Hulk,  Captain America and Spider-man. They were produced until 1970, and then in 1974 they were revived. This newer release featured an instruction book which also contained a short comic story telling the tale of the assembled model scene. In the case of the Spider-man kit, the comic was written by Len Wein and drawn by Spidey's own John Romita! 

1974 also happened to be the year when I caught the comic fever, and when I saw that Spider-Man kit on sale at the local Woolworth's, it was ordained. Had to have it. Thanks to my kindly, understanding parents, that cool plastic face-off between Spidey and Kraven was soon sitting on my bedroom shelf. And so it stayed for some years...until somewhere at college it vanished. Never found it, and figured it gone, and basically forgot about it. 

Until, that is, my wife and I attended a local flea market earlier this year, and lo and behold: sitting on a table was that same Aurora Spider-Man model, boxed even!  The dealer didn't think the comic was still there, but I opened it up to see if the kit itself was intact. Amazingly, not only were all the pieces still there, but so was the comic- and in brand new condition! Well, just like that day years before, I was hooked. Took it home, took two weeks to assemble and paint it (the webbing was the biggest challenge). This time thanks went to my understanding wife, as I spent each evening after work upstairs with a very tiny brush and tube of Testor's cement.

The finished product:

And now, as many of you may never have seen this item, here are some pages from the instruction 'comic', beautifully rendered by the Jazzy One. Incidentally, page 5 shows only the background, as it was provided for use as a display for the model kit. Enjoy!

 

  

Does it strike anyone else that Spider-man seems rather unconcerned that his webbing was responsible for the destruction of some valuable, historic tapestries?





 

Dangermash commented today on the likelihood of the Spider-Man model kit being based upon Amazing Spider-Man 34. Here's a  panel from that issue- no Kraven, but the pose and setting are certainly similar...

And that's my tale for today. Anyone else have this, or one of the other kits? How did the assembly work out for you? Any details on the other instruction comics? Tell us all about it...

Then I Guess He Had to Crash - Thor 269

Thor #269 (March 1978)
"A Walk on the Wild Side!"
Len Wein-Walt Simonson/Tony DeZuniga

Doug: Marvel should have been embarrassed to put these two on the same cover. Am I seriously supposed to believe that Stilt-Man's rocket pods could vanquish the God of Thunder? The same God of Thunder who Marvelites continue to argue over concerning the victor in a tussle with the Hulk? That guy. If you're stopping by for the first time, back in April we had a fun conversation about mismatches in comics -- and a couple of weeks ago we checked in on one, when Daredevil was pitted against ol' Jade Jaws himself. If you're in a hurry today, I'm going to save you some time and just say this comic was "average". It wasn't horrible, but it certainly in no way distinguished itself in any positive light beyond expectation. I've been reading and have provided the scans from the Gods, Gladiators, and the Guardians of the Galaxy! trade (recommended for the reprints of Thor Annual #s 5 and 6). Here, then, are the details: 

100 Word Review: It’s all cloak and dagger as we find some menacing electronic voice and a shadowy hirsute brute egging on Wilbur Day, also known as the Stilt-Man. Day’s armor has been specially augmented for a job: steal cargo from a messenger helicopter and return it to the electronic voice. For the job, Day’s armor has been adamantium plated and loaded full of gas, concussion blasts, etc. But in the middle of the heist the Stilt-Man is accosted by Thor. In a match that lasts far longer than it should, Thor is victorious. His prize, though? A challenge from Day’s co-conspirator – Blastaar!

The Good: I never think of Walt Simonson's Thor during this period; instead I of course think of his turn as writer/artist a few years hence. I like his work here -- and just to show my heretical side, I'll say that his style here is more pleasing to my eye than his later work. Some may argue that Simonson is aping John Buscema during this run -- and who could go wrong if that was indeed the case? This is a mighty God of Thunder, well-muscled yet regal. He moves smoothly, though, whether on land or in flight. And Tony DeZuniga's inks? DeZuniga's in the same category for me as Pablo Marcos, in that I can pick out his work from a mile away. I don't dislike it at all, but these guys are definitely in the neighborhood of Joe Sinnott's overpowering style. Hear me -- I don't dislike the art. I'm just not sure how much of Walter Simonson I'm seeing. But overall it's pretty tasty.

The scan to the right captures a nice scene that was reminiscent of the airplane catch in Superman Returns, albeit shorter and less dramatic. After Stilt-Man's aerial robbery, the whirlibird went into crisis mode and began to descend wildly over Manhattan. Fortunately, one Dr. Donald Blake happened to be among the masses below. The art team did a nice job of conveying the duress Thor came under.

The story had a one-page vignette with the Warriors Three and the All-Father, Odin. It's not much -- just the boys coming home from a mission accomplished and Odin offering them a boon for their trouble. But Odin does utter a cliffhanger statement about the Realm Eternal being threatened... to be continued. I always dig Fandral and his mates; Balder, too. Thor's supporting cast, melodrama aside, is always a favorite.

Stilt-Man's dorky, but I've always kind of liked him...

The Bad: ...when he's fighting Daredevil. This book is pretty lame. It really is. We've had some arguments around here in the past about street-level stories versus cosmic stories. I've argued in the past and will do so again that my favorite Thor stories are in far off lands, pitted against other gods, or spacefaring. I get that he's not a cosmic hero like Captain Marvel or the Silver Surfer, but if Stilt-Man and Blastaar are all Earth has to offer in the way of adversaries, then editorial needs to make a change.

The plot of the story is basic, and not suspenseful at all. The hidden voice commanding Wilbur Day, the heavy in the background there to keep Day in check (c'mon - who didn't know that it was Blastaar right from the beginning?), the heist, Thor's initial engagement of Stilt-Man, the foregone conclusion that was the outcome, and the "big reveal" splash to end the story. I did not have this particular book when I was 12, but I'd like to think I was a more discerning reader than to be infatuated with this book.

 

Additionally, are we really to believe that Mjolnir wouldn't put a pretty severe dent in Stilt-Man's armor? Adamantium is not vibranium -- I don't think it repels energy. So while I could accept that the outfit wouldn't crack or split, I do think Mjolnir is more formidable than was implied in the script. That being said, Thor did use the hammer to solve the problem, and that alone makes the plot bad. If Stilt-Man's armor could have been disrupted by lightning, then that could have happened at any time. The battle scene then simply negates itself in my mind.

 

The Ugly: My frame of mind, for one. I'm sorry to bring a cloud over your Monday. It's not what I usually do -- generally I can get on board with most of what I read for the reviews I write. But outside of the art, I can't toss a single kudo Len Wein's way. Well... OK, I lied about that. There was one specific panel, early in the story, when I segued back to my 12-year old self and did a Beavis and Butthead laugh in the back of my head. So maybe my sense of humor is the "big ugly" here. And a request for forgiveness if my sophomoric humor offends anyone. Thanks in advance.  

Guest Review: "Bang! You're Dead!" - Batman 321

Doug: Welcome to a second review submitted by Thomas F. You'll recall Thomas's maiden voyage with his thoughts on Spectacular Spider-Man (1976) #1. We're excited to post this today, as it will serve as a sort of bookend to next Monday's review, where I'll take you back to the Silver Age for a Batgirl story from Detective Comics. Onward!

Batman #321 (March 1980)(cover by Jose Luis Garcia-Lopez)

“Dreadful Birthday, Dear Joker…!”

Len Wein-Walt Simonson/Dick Giordano/Julianna Ferriter

Thomas F.: Here we have the first Joker story in the pages of Batman for the 1980s. This story is scripted by Len Wein, an underrated writer who happens to be the co-creator of Marvel’s Wolverine and DC’s the Swamp Thing. This is a classic Joker tale, and Len Wein writes a perfect homicidal, sociopathic Joker with a morbid sense of humor (the twisted humor and depraved deeds tend to be at the expense of the Joker’s victims or even Batman himself).

The art duties were handled by Walt Simonson, a distinctive and popular artist initially known for his acclaimed work on Detective Comics (specifically, the eight-page Manhunter backup stories, beginning in November 1973, which gained him industry-wide recognition), Marvel’s Star Wars, and especially The Mighty Thor in the late 1970s/early 1980s. (Simonson is also well-known for creating the Beta Ray Bill character who first appeared in The Mighty Thor #337, a key Bronze Age issue). 

Although it’s unrelated to the review of Batman #321, I just wanted to mention that the very first piece of artwork by Walt Simonson that I’d ever seen was back in 1989 when I was in elementary school. It was a few months after the release of Tim Burton’s 1989 Batman movie starring Michael Keaton, and Batmania was in the air, especially amongst youngsters. The artwork was a full page pinup of Batman that Simonson had contributed in the pages of Detective Comics #600. (As I recall, a classmate had the issue and was showing it around). It’s a powerful shot of a dark, moody Batman standing in readiness atop a gargoyle.

By the way, the entertaining story in Batman #321 is deservedly reprinted in the trade paperback “Batman in the Eighties” and “The Greatest Joker Stories Ever Told,” so it’s easily accessible (NOTE: It's also been recently reprinted in 2014's Tales of the Batman: Len Wein. -Doug). Of course, all Joker appearances in Silver and Bronze age Batman comics are highly-sought after by comic book collectors, but fans should be able to obtain an original copy of this great book at a relatively low price if they wish to do so.

The story opens at Gotham Police Headquarters on Gotham City’s lower east side. Commissioner James Gordon enters through the front doors out of the pouring rain, where the sergeant manning the front desk informs him that there’s an envelope bearing no return address waiting for him. Tearing it open, Commissioner Gordon is appalled to find that the contents include an invitation from the Joker to attend his birthday party the next evening. The invitation reads: “Dear Gordie, you are cordially commanded to be present at the JOKER’S BIRTHDAY PARTY tomorrow evening at 9:00 PM! Black tie optional, funny hats mandatory. R.S.V.P.  B.Y.O.B.” Gordon tosses the invitation aside, scoffing at the Joker’s presumptuousness.

Suddenly, the two policemen at Gordon’s side are overcome with an attack of mirth. But as the Joker himself strides through the door, clad in his trademark purple overcoat, it’s clear that the laughter is unnatural and is caused by the Joker’s lethal laughing gas!
Outside, having been summoned earlier via the Bat-Signal, the Batman swings down on a rope towards Gotham Police Headquarters, where two things immediately alert him that the present situation is out of control: one, the Jokermobile parked directly in front of the building, and two, the loud hysterical laughter audible even from outdoors. The Batman correctly surmises that laughing gas is involved here and accordingly puts on a miniature gas filter. Crashing down through a high window, the Dark Knight lands amidst the Joker’s armed henchmen. He wades into them like a tornado, making short work of them.

The Caped Crusader then rushes outside just in time to see the Joker make his getaway. In the Jokermobile’s passenger seat lies Commissioner Gordon, unconscious, while the Joker speeds away from Gotham Police Headquarters. That Jokermobile looks hilariously over-the-top!

Almost incidentally, Batman learns from a policeman that in addition to Commissioner Gordon, his sidekick Robin was also abducted by the Joker earlier that day. Disguised as a woman and pretending to have a flat tire, the Joker waves Robin down and tricks the Teen Wonder into helping change a flat tire. The tire, however, turns out to be covered with an adhesive substance that Robin can’t free his hands from. We then see the “woman” pull off her mask, revealing herself to be the Joker.

The scene cuts to Bruce Wayne’s penthouse apartment, located above the Wayne Foundation Building. Selina Kyle is over, visiting, and we see Alfred Pennyworth, Bruce Wayne’s butler and confidant, recommending that Ms. Kyle visit a doctor in regard to her frequent headaches. The door opens, and Lucius Fox (CEO of Wayne Foundation) enters the room, a stack of files tucked under his arm. Lucius Fox has arrived to discuss corporate issues—arbitrage deals, to be precise—only to be informed by Selina Kyle that Bruce had been summoned away on an urgent business matter some time earlier.

Just then, Alfred hears the patter of footsteps on the roof above, and he assumes that Bruce Wayne is returning in his guise as Batman, and just as it occurs to him to distract Selina Kyle and Lucius Fox, a powerful explosion rocks the room. In the wall is a gaping aperture where now stand the Joker and two of his armed henchmen. The Joker instructs his hired help to pick up Alfred, who has been knocked unconscious by the heavy impact, and prepare to leave.

Suddenly Selina Kyle rises to her feet, and with her martial arts prowess makes short work of the Joker’s goons. The Joker charmingly apologizes to Selina for intruding, and offers her a bouquet of roses. Selina is suspicious—as well she should be—since a moment later a gloved fist is ejected from the flowers, like a jack-in-the box, with such force that it knocks Selina out.

Exactly why the Joker kidnaps Alfred isn’t clear—have they crossed paths before? Probably. I’m wondering if the Joker knows of any connection between Alfred and the Caped Crusader. I’m also not sure why the Joker doesn’t kidnap Lucius Fox or Selina Kyle, for that matter, instead of leaving them unconscious in Bruce Wayne’s penthouse suite. Surely abducting them in addition to Robin, Gordon, and Alfred wouldn’t have been much trouble at all. And wouldn’t the Joker—not knowing Batman’s secret identity—seek to kidnap millionaire playboy Bruce Wayne himself, instead of Mr. Wayne’s elderly butler?

When Selina Kyle finally regains consciousness, she finds Batman perched in front of her, but she’s unable to give him much information. Nevertheless, by now Batman has a pretty good idea of what’s going on.

Meanwhile, in the Joker’s hideout, we see at least seven figures strapped to the Joker’s “Victim-Go-Round.”

The Joker explains his motive to Robin, which is, quite simply, vengeance. In the Joker’s own words: “Tomorrow is my birthday … and by way of celebration … I intend to eliminate all you who’ve crossed me … while all of Gotham City watches!” Then Joker the quips: “It’s not exactly the catcher’s mitt I really wanted … but it’s a pretty fair second place!”

In the background, we see the Joker’s henchmen laugh at the Joker’s inane comedy, except for one, who rolls his eyes, thinking: “Sheesh.” The Joker is vexed that this henchman didn’t find his wit amusing, and in a typically Jokeresque manner, casually murders him using a handheld spear-gun from his deadly arsenal.

This scene is so memorable—“Bang You’re Dead!”—that I just had to include it here in its entirety.

The Joker reveals to Robin that he’s managed to entice Gotham City’s population to Gotham’s new Seaside Coliseum by using, as per his wont, a cunning trick and an understanding of elementary psychology. In other words, he offers the jaded, cynical population of Gotham City an invitation from the “Harlequin Baking Company” an opportunity to “sample its wares” the following evening at nine p.m.

A typical elderly Gothamite reading the newspaper advertisement says to his wife, “A free sample? Sounds tempting! Think we ought’a go?” To which his bored wife replies, “Why not? It’d beat sitting through another rerun of celebrity bowling!” I found this dialogue quite funny; scripter Len Wein clearly has a good sense of humor.

Unfortunately for the Joker, Batman, who has also perused the advert, shrewdly discerns that the Joker has just slipped up—there is no existing company as the “Harlequin Baking Company.” And the next night, the Joker’s scheme appears to work. The coliseum is jam-packed full of the curious and greedy who have come for the free refreshments. Promptly at nine, the steel doors swing closed, and within a few minutes, the impatient crowd is immobilized in their seats by a rapid-acting paralytic gas.

The lights dim, and then, in a spotlight, the Joker appears on stage. The Crown Prince of Crime disingenuously welcomes his audience and thanks them for coming. He then reveals his pièce de résistance: an immense cake, with his victims securely bound to explosive candles on top.

The Joker explains to his horrified captive audience that when he triggers his detonator, the candles, along with the victims tied to them, will sizzle. But as expected, Batman arrives, intent on putting an end to the macabre charade. The Joker, who momentarily has the upper hand, informs Batman that if he allows himself to be fastened to the remaining candle, he will release the others, sparing their lives.

Of course, the Joker has no intention of keeping his word. After Batman is roped to the largest candle and the Joker doublecrosses him, Batman presses a hidden button that somehow converts the candle into a makeshift rocket, launching him skyward and out of harm. Apparently Batman had arrived early and rewired his candle’s incendiary jets, which is a rather weak explanation that I didn’t really buy into.

As Batman is launched upward, the Joker chortles that although Batman may have saved himself, his other friends will burn, and with glee he slams his palm down on the detonator. The candlewicks catch fire, and the flames slowly spread towards the Joker’s victims, when Batman frees himself from his candle and hurls batarangs that sever the candles’ fuses. A final batarang cuts Robin free, and he hurls himself into the fray with Batman against the Joker’s cronies.

The Joker takes to his heels and races on foot to the docks nearby, where he has a motorboat ready. He starts the engine and speeds away. His parting comment to Batman is typical of the Joker’s insolence, and his “look out for number one” attitude: “The Joker watches out for himself, fools! ‘Bye now!”

I really enjoyed some of the Joker’s mirth-filled lines in this issue. When he cackles, “He who fails and runs away, lives to win another day,” as he cravenly flees an enraged Batman, it’s priceless.

Snagging a loose line, Batman manages to pull himself up to the boat, where the two engage in combat. Using yet another of his trademark lethal gadgets, the Joker squirts acid from a flower that Batman barely manages to avoid, but the Joker does manage to stun Batman with a heel to the chin.

The two foes continue to grapple, when Batman notices that the boat is out of control and headed directly for a mound of rocks in the shallow water. Batman tries to warn Joker of the peril they are both in, and seizing the Joker’s hand, tries to pull himself and the Joker out into the water. Batman escapes with seconds to spare, but the Joker, who was using a fake hand that came loose as the Batman yanked him, remains in the boat. An instant later, the motorboat crashes and explodes, setting the night sky ablaze with a spectacular reddish glow.

On shore, Commissioner Gordon ponders whether they’ve seen the last of the Joker, but Batman is skeptical, and we, the readers, know perfectly well that it won’t be long before the Joker rears his ugly emerald head again.

This issue is just chock-full of the Joker’s outrageous devices, from laughing gas, the Jokermobile, a spear-gun, acid spray, phony hand … scripter Len Wein really went all-out here. Overall, a fantastic late Bronze Age story featuring Batman versus the Joker.

Guests Review - Batman vs. the Incredible Hulk

This is the 600th Review to Appear on the Bronze Age Babies

 Doug: Now here's a first on the BAB, and after 6 1/2 years one shouldn't take a statement like that lightly! Today we feature not just your ordinary, run-of-the-mill partner review. Oh, no. Today, it's a Three-for-all! That's right -- several weeks ago the merits of the Batman vs. the Incredible Hulk treasury edition were being sung from the highest peaks when three of our stalwart commenters rose to the occasion and said "We'll review it!" You go right ahead boys. And you know what? They did! Enjoy this water cooler conversation between Edo Bosnar, Humanbelly, and Mike Loughlin -- we think it'll be a fun ride.

Batman vs. The Incredible Hulk (DC Special Series, Vol. 5, No. 27, Fall 1981)
"The Monster and the Madman!" 

Len Wein-Jose Luis Garcia-Lopez/Dick Giordano

Prologue

In the middle of a hot and humid summer in Gotham City, people’s dreams and nightmares are becoming real, even when they’re not sleeping. In a waterfront warehouse, the Joker and his goons are preparing for a heist. The Joker is talking to someone off panel who is in great pain and really needs whatever Joker and the gang are going to steal. As they depart, the Joker kills one of his henchmen for suggesting that he might be afraid of that mysterious someone in the warehouse…

Humanbelly: Ha! That "hot & humid" summer that Len so aptly describes? This is a big ol' nit-pick, yes, but the poor suffering sleeper is drawn slumbering in the heat under a sheet AND blanket-! The words are good, the pictures are more than good-- but the editing is asleep at the switch. It's a small but obvious incongruity that pulls a reader a little bit out of the story right at the outset, and could easily have been caught.

Mike Loughlin: I never caught that! I was about to No-prize it away by saying the a.c. was on and too high, but let me quote panel 2: “for months now [he] has been talking about buying an air-conditioner – and is now paying the price of his procrastination.” D’oh!

Edo Bosnar: Yeah, I know all too well what hot & humid nights are like – there’s no way I’d be snuggled up in bed like that guy…

HB: One of the huge drawbacks of Marvel Zuvembihood was having no clue who Jose Luis Garcia Lopez was. While there are some quibbles with the art in this book later on, NONE of them have to do with this man's ability as an artist and visual storyteller! His work here often comes across as the genetically-blessed artistic love-child of Neal Adams and Gene Colan. . . along with a helpful Steve Ditko and Ross Andru lurking in the family tree. The splash page and prologue set the visual tone wonderfully-- but my favorite panel here is the nightmare-ized movie theater on page three: an artist simply surrendering to the fun of what he's drawing. I might submit, though, that most horrifying element in that image is the inexplicable, eye-clenching outfit that the young lady is wearing. . . unless. . . that, too, is part of the nightmare-??

ML: Yikes! Maybe it from the movie and she’s cos-playing? “It Came from 1981!” “Dawn of the Fashion-Disaster Decade!” “Clash of the Clothing!”

EB: Heh, speaking of ‘80s fashions, outside of those silly boots, her outfit actually compares favorably to some of the stuff I recall in my H.S. and early college years, like parachute pants, the upturned collars and the copiously gelled (my lord, the gel!) and elaborately coiffed hair. Anyway, my favorite part of that image? The ape-like ghoul munching on their popcorn.

ML: Anyway, Jose Luis Garcia-Lopez is one of the best artists to grace the medium. It’s a shame he didn’t do more work for Marvel or an independent publisher, but to me his art *is* DC. I grew up in the ‘80s, a time when most of DC’s licensed product art was done by Garcia-Lopez and his artistic partner on Batman vs. Hulk, Dick Giordano. T-shirts, action figure box art, lunch boxes, underoos – before I was an avid comic book reader, I came to these characters through those aforementioned avenues. Garcia-Lopez’s style is remarkably clean, slick, and aesthetically pleasing. It’s a shame he didn’t have a long run on a popular series (why oh why was he not on Superman after Curt Swan left? Or John Byrne?). He has action chops to spare, as we’ll see in the next chapter.

Chapter 1: “When Wakes the Behemoth…!”

The story opens in a large busy lab in the Gotham City branch of Wayne Research. Bruce Banner, under a fake name, has been working there as a sort of orderly, doing odd jobs so he can get a closer look at something called a gamma-gun, which he believes can cure him of being the Hulk. Suddenly, he notices that everyone in the lab, himself included, is beginning to laugh uncontrollably, so thinking fast, he puts on a radiation suit that has its own air supply. Right then, the Joker and his thugs bust into the lab and go after the gamma-gun. Banner runs to hit the alarm, but the Joker’s men knock him down. The effect is predictable for long-time comics readers, as they now have to deal with a very irate Hulk. He begins trashing the lab, and while the Joker’s men try to sneak out with the gamma-gun, they’re stopped by none other than the Batman! After the ensuing melee, in which Batman takes out the thugs, the gamma-gun ends up in the Hulk’s hands. Before Batman can do or say anything, the Joker sweet-talks him into giving him the gun and attacking Batman. The confrontation has a rather unbelievable outcome, i.e., Batman takes out the Hulk with a combination of gas pellets and well-placed kick to the gut. The Joker and his men abscond with the gamma-gun in the meantime, but Batman loses them in pursuit, as the layout of the streets and alleys around the building has somehow been changed into a maze. He returns to the lab as Bruce Wayne, where the groggy Hulk changes back to Banner. Instead of sending him packing, Wayne offers him a job to make a replacement gamma-gun.

 

ML: Holy ‘70s tv! Bruce working an odd job in a research facility, using a “David B____” alias? Calling Hulk “…the raging beast that dwells within?” That tickles this reader’s nostalgia bone something fierce, but this comic came out in 1981. These little nods were contemporary. It’s too bad we don’t have Batman calling anyone “old chum” or an appearance by King Tut.

HB: I wonder if the Joker is one of those characters who "write themselves"? It seems like Len Wein channels him from the get-go, and is clearly the character he enjoys the most throughout. This is a little bit unfortunate since, of course, Banner & Hulk ARE Len's characters. Hulk seems on-point, for the most part, but Banner tends to sound rather flat throughout the book-- and even decidedly out of character at points. And despite how brilliant his work is, Lopez also doesn't seem to capture Bruce's look, somehow. So. . . I never quite believe it's Bruce, really, y'know? But ohhhhh boy, does he draw a good Hulk! Page 9 is just about poster-worthy.

ML: All due respect to Herb Trimpe and Sal Buscema, the JL G-L Hulk is my favorite Bronze Age Hulk. He draws the Green Goliath as a massive troglodyte who’s always angry. The body language is also excellent; Hulk is a lumbering brute always charging, punching, and swinging his arms around. Batman vs. Hulk is an absurd match-up, and JL G-L sells it by contrasting the Hulk’s actions with Batman’s leaping, avoiding, and getting hits in when he can. Well, he sells it until – that scene.

EB: I share your admiration for the nonpareil craftsmanship of Garcia-Lopez, but he still doesn’t topple Sal as my favorite Hulk artist…

HB: Yes, I agree completely about Bats' swift kick to the Hulk's breadbasket. Unexpected or not, that "Hhuuunff!!" is just never gonna happen according to this character's established history (Although, again, it's drawn great--!).

ML: Here it is, the scene that threatens to break the entire comic. I’m a Hulk fan, first and foremost, so I don’t like seeing my favorite character go down in a fight. Especially to a ‘puny human!’ I could accept it, however, if not for the fact that Batman bests him physically. Batman has gadgets, scientific know-how, fighting prowess, detecting skills, and more money than the entire Fortune 500. On the other hand, the Hulk is a creature of pure brute strength. That’s all he’s got. The people who made this comic could have had Batman force the Hulk to take a breath in a number of other ways: throw a flash grenade at him to startle him with the light, use sneezing powder, say ‘Hulk- knock, knock’ knowing he can’t resist replying ‘who there?’ Anything that doesn’t tear the Hulk down so badly. If not for the fact that there were so many gorgeous Garcia-Lopez/Giordano pages left to drool over, I would have closed the comic right here.

HB: And my primary art quibble is on display in this first chapter. Pages 13-15 in particular--- almost no backgrounds whatsoever! Fantastic action w/ the figures. . . but it's all taking place in a particularly chroma-challenged limbo! White backgrounds, yellow backgrounds? Tangerine backgrounds?? PINK backgrounds??? This strikes me as a "book's gotta get done fast" problem, as opposed to a Garcia-Lopez problem. But it has the effect of generally leaving many scenes feeling ungrounded or visually unfinished.

ML: Indeed. The fight choreography and facial expressions work beautifully – check out the Joker’s evil glee on page 16!- but the reader loses a sense of place during the fight.

ML: I find it highly unlikely that security would let Bruce Wayne just stroll in and get close to the Hulk, or let him talk to Banner, or let him offer the half-naked scientist a job! This scene strikes me as one that could feature post-Crisis Lex Luthor in Bruce Wayne’s place. Does Wayne bribe the cops to let him do whatever he wants at a crime scene, or take suspects home with him?

Chapter 2: “When Dreams Won’t Come!”

Back at their hideout, Joker and his men set up the gamma-gun and fire it at their ‘client,’ who ends up being none other than the Shaper of Worlds. As he absorbs the gun’s energy, he goes into some lengthy exposition, recounting that during his travels through the universe the radiation from a nova he passed robbed him of his ability to absorb dreams – so he made his way to Earth, created a warehouse to disguise his spacecraft and started looking for a mind to help him restore his powers, and in the process he found that the Joker’s mind was unique in the universe (!). They struck a bargain: the Joker helps him, and he gives the Joker pretty much whatever he wants. However, it turns out that the T-gun is useless, and the Shaper exclaims that he may lose his mind. The Joker is now in a bit of a quandary as to what his next move should be.

HB: Well-- the plot is dumb. I mean, there's just no way around that-- but I suppose that's sort of a given with Special Events like this. We spend 20 pages in a dire search and struggle over the Gamma-Gun (Really? Gamma-Gun?? Because we don't already have a lifetime supply of those littering the landscape in Greenskin's own book??), and then-- whoopsi-foozle-- the darned thing didn't work after all! It's a classic Hitchcock Maguffin-- the thing that no one cares about that's necessary to get the story a-movin'. It's just used rather artlessly in this case.

ML: Zzzzzzz… wha-? Oh, sorry, the Shaper of Worlds was talking. Why did Wein go with the uninspired baddie? The Hulk’s rogue gallery might not stack up against Batman’s, but they could have done so much better.

HB: Ha-- and the panel on page 25, w/ the Joker biting his lip? Oh, that would be a MUST for any Joker image montage or collage! That Joker--- what a criminal mastermind-- why, he's stealing this very book right out from under Hulk & Bats! 

ML: The Joker biting his lip is one of my favorite panels of all time. It’s one of the few times the reader gets a feeling that the Joker is not in control of the situation. In fact, that seems to be a hallmark of the modern Joker, being two steps ahead of everyone until Batman thwarts his schemes.

ML: I think the Joker is every writer’s favorite villain. He’s a lot of fun, gets the best lines, and his schemes aren’t as hard to set up as the Riddler’s.

EB: While I agree that the Leader probably should have been the go-to Hulk villain for this one, I don’t think the Shaper was necessarily a bad choice. I think it made it easier for Wein to find a way to make the unlikely Batman/Hulk team-up occur. However, as noted in the summary, the exposition here is really drawn out. So yeah, Joker pretty much steals the show here.

Chapter 3: “When the Sea Churns Green…!”

We see a tanker belonging to Wayne Enterprises is anchored just beyond the 3-mile mark. The interior has been refitted into a giant, super-sophisticated lab in which Banner has been tirelessly leading the research. The ever-trusty Alfred is on hand to keep an eye on him and makes sure he’s calm and comfortable. The scene then switches to Batman visiting a number of underworld haunts to find any information on where the Joker might be hiding out, and finally comes up with a solid lead. Back on the tanker, several helicopters land, and a man identifying himself as a USAF colonel says the government wants them to apprehend Banner. Alfred protests, and the soldiers rough him up a bit, which leads the “colonel” to blurt out that they were supposed to make this look like a proper military operation. Banner, overhearing, gets enraged with – again – predictable results. The fake troops try to stop him, which includes using an industrial-strength taser, but to no avail. The “colonel” thinks they need some kind of bigger monster to take him out, and all of a sudden this huge pasty creature appears. It seems impervious to Hulk’s punches, and eventually just absorbs him into its belly, which then turns into an elastic cage that he can’t break out of. The “troops” take the blob monster with the captive Hulk away on their ‘copter, after which Commissioner Gordon shows up, as does Batman. A call to General Ross confirms that this was indeed not a USAF operation. But Batman says he knows who was behind it all.

HB: Len Wein seriously drops the ball with Banner in the first scene of this chapter, which I had a hard time getting past. A scientist accidentally drops a small piece of equipment, and Bruce launches into a full Super-Villain outburst ("You clumsy oaf!", etc, etc). It's ugly, it's forced, and it's wildly out of character for the Bruce Banner that Len himself had written for several years. Banner immediately becomes an unsympathetic pill--- not what you want for the book's co-star.

ML: Out-of-character he may be, but the changes in Banner’s body language and the green tint to his skin when he gets mad are highly effective indicators of the stress he’s under.

EB: Yeah, I didn’t find the Banner outburst here off-putting. The panels explain that he’d been working non-stop for a few days, so it wasn’t too much of a stretch to see him snap. That said, I totally agree with HB about his super-villainesque insults (if the lab-guy was younger, we could have even been treated to an “incompetent whelp!” or something like that). A simple “Hey! Be careful with that!” would have sufficed.

ML: It’s nice to get a pure Batman sequence. Once again, JL G-L keeps the action moving until he has to pause. Batman standing over the unconscious thugs while stroking his chin looks great, but the matchbook clue is just lazy. How many times has this scene been repeated in comics or movies? Does no one use a lighter?

HB: Rubber Mask Over Cowl #1-- the bum in the bar. Do you suppose artists had to avert their gaze in embarrassment every time they drew this?

ML: My no-prize explanation is Reed Richards licensed unstable molecules to Acme Rubber Mask Co. Now that Beast goes around blue and furry all the time, Batman’s their best customer.

HB: In several instances, I'm struck by the wonderful faces that Jose' creates for the Hulk. They're some of the most truly life-like & expressive I've ever seen. Page 35, top right panel-- that's a believable person, y'know?

HB: And I'm gonna say that I do love the doughy cage-android for a couple of reasons. #1, it looks like Steve Ditko sneaked into the studio sometime after midnight and drew him into all of the scenes, then ran away laughing madly. #2, the android is a strong, strong reminder of Incredible Hulk #'s 115-117, where the Leader used both an unbreakable, doughy cage AND unbreakable android to perpetually subdue ol' Greenskin. Hmmm-- now, why wasn't the Leader used in this story in the first place. . . ? His impatient snottiness combined with the Joker's incessant pestering-- oh, that would have been SO much better-!

HB: And finally-- ONE PANEL for Thunderbolt Ross AND Doc Samson?? So-- really, this is just a Batman story with the Hulk as a guest-star, isn't it? Daggone it---

ML: The Ditko comparison is spot-on. In Tales to Astonish #63, the Hulk battled the Leader’s sponge-rubber creation, the Humanoid. I also wish Wein had gone with the Leader. At least there would be a personal connection between both heroes and villains. The gamma gun could have been used to fuel his latest device, which unintentionally gives the Joker reality-warping power or something. As we’ve seen, the plot mechanics are secondary to the set pieces in this comic.

EB: I love that blob-monster, but I have to say that it’s part of the plot-hole/storytelling in this book that bothers me the most; obviously, it’s another case (like that street-maze that confounded Batman in the first chapter) of the Shaper helping the Joker and his men out, using his reality-warping and wish-fulfilling powers. However, in his exposition, the Shaper tells us his powers are blinking out and he’s actually in pain, etc., etc., yet he’s still able to apparently (telepathically, cosmically?) monitor the activities of his hirelings and toss them a little deus ex machina when things get thick.

ML: The call to Ross and Samson is so perfunctory. If you think the Hulk is only a guest-star now, just wait until the climax!

Chapter 4: “When the Shaper Commands…!”

At their hideout again, the Joker and his men present the Hulk to the Shaper, who at first doesn’t understand why they brought him. Joker explains that his alter-ego Banner can perhaps adjust the gamma-gun. However, the imprisoned Hulk completely flips out and manages to tear the blob monster apart and heads for the Shaper, just as the latter claims that madness is overcoming him. A bunch of nightmarish manifestations appear to confront the Hulk, which he smashes, but then something odd happens, as both of them grow calm. The Shaper realizes that the Hulk’s unique gamma radiation somehow helps him. The Hulk, meanwhile, says he feels tired and then bursts out of the warehouse. Shaper tells the Joker he has to find Hulk and bring him back. This leads the Joker to commandeer the Bat-signal to summon his arch-nemesis. He convinces Batman that they should conclude a temporary truce and work together to find the Hulk, so they indeed begin looking for him throughout Gotham. They do eventually find him, and when the Hulk leaps into the air to escape them, Batman fastens a line around the Hulk’s ankle and lets himself get propelled along with the jolly green giant. They land in a parking garage, and this leads to another confrontation that again stretches the otherwise indulgent suspension of disbelief most comic book fans have (like Batman avoiding being crushed by a car hurled at him by jumping and breaking through both side-door windows). Batman throws a smoke-bomb to keep the Hulk from finding him, and the Hulk, in a rage, ends up demolishing the parking garage. The Joker then shows up, and is unsurprised when Batman emerges from it largely unscathed (he dove under some cross-beams that sheltered him from the rubble). The Hulk, meanwhile, is walking through an alley, and stumbles upon a blind man who asks him if he needs a friend. He calms the Hulk a bit in their ensuing conversation, and then the Joker suddenly shows up and tells the Hulk he should come with him. The Hulk balks initially, but the blind man tells him he needs to trust the Joker, as it may change his life. The two walk off together, and we learn that the blind man is actually a cleverly-disguised Batman (wearing one of those amazing rubber masks).

ML: I’m not too impressed with the story, but some of the little touches are solid. I especially like how the Hulk gets out of the blob monster cage: the Joker mentions Banner, and it’s his hatred of his alter ego that gets him furious enough to break free.

HB: Again, the dynamic art really is shouldering a lot of the entertainment burden, isn't it? We'll go through several pages of action and event, and the resolution is that the actual plot is only furthered the tiniest inch. All that effort and angst to get Banner/Hulk to the Shaper (for a reason that never sees fruition, really), and the result is that we discover the Hulk's presence does the same thing that the Gamma Gun would-- before the Hulk leaps away again. We're on page 42, and from a practical standpoint (and the Shaper's) we're exactly where we were at the end of page 26. This is serial writing in a non-serial format. Not givin' Len high marks here.

ML: Despite a wonky plot, I like seeing Batman forced to work with the Joker. Len Wein gets in more of his snappy Joker dialogue, easily the best part of the writing in this issue.

HB: In the neat little "calming down" sequence on page 41, the Hulk ends up bearing a strong resemblance to. . . John Travolta?? Man, that guy left his mark everywhere back then, didn't he?

ML: “Puny human! Up nose with rubber hose!”

HB: The plaus-o-bilitron, as you mentioned, is indeed off the charts on several scores in this chapter (the cool dive through the car windows, the second no-way rubber mask) but the one that I couldn't get past was Bats' being towed along Hulks' leap-path via a bat-line. There's nothing survivable in this scenario. There is nothing breaking his fall, he's not flying, he's not landing on anything other than concrete, he's not "rolling" with it-- and he's easily 120' up at the moment we see him (coming down from several hundred, very likely). He makes an inane comment about angling his descent like the Hulk's-- which actually calls attention to the absurdity rather than mitigate it. Gnrgh-- BATMAN IS NOT SUPER, fellas!

ML: Agreed, but Batman jumping through the car is so cool and Garcia-Lopez totally – GASP! Oh no… No! I just noticed a flaw in the art! When Batman dives through the car, his cape comes out billowed. If he just jumped through a small space, wouldn’t his cape have to be clinging to his body to get through? Say it ain’t so, Jose Luis! I… I need to sit down…

HB: My biggest problem of all, though, is that the Hulk expressly states twice in this chapter how he hates it when humans twist their words and lie to him. This is a fundamental aspect of the Hulk's character, because even he realizes how gullible he himself can be. So, what is the ultimate tactic Bats and Joker use to get the Hulk to work toward their ends? They deceive him, twist their words, and lie to him. And it's obviously seen as the right (or at least most prudent) solution. This reduces the Hulk's character even further into the realm of interesting plot device rather than actual person. I... hate that.

ML: I do like the device of having Batman disguise himself so as not to trigger Hulk’s rage. That Acme Mask Co. does quality work. I was surprised to see the Hulk tell an innocent (as far as he knows), “Now little man – you die!” I’m used to “Hulk smash,” not actual death threats to a person not actively threatening the Green Goliath. It actually fits with out-of-character Banner calling people names. The deceit is regrettable, though. It makes the Incredible Hulk, strongest creature on Earth and titular co-star of this oversized extravaganza, a world-class chump.

EB: No arguments from me as far as your criticisms go. The strongest part of this section was the Batman/Joker interaction (I got a chuckle out of that one scene in the montage of their search for the Hulk in which the Joker is checking to see if he’s hiding in a garbage can). But this is where I think the Hulk is really sidelined more than anywhere else in the book. He just becomes grist for the Bats/Joker interplay, and it’s a bit off-putting to see Bats help a villain engage in some subterfuge at the expense of a fellow good guy, unstable and flawed as he may be.

Chapter 5: “When Madness Reigns…!”

As the Joker and Hulk approach the warehouse, which has these odd energy bands emanating from it, Joker tells Hulk to go in alone, which shocks Batman, who was following them. He tells Joker off (and gives him a b****-slap for good measure) and then goes to join the Hulk, who seems generally unperturbed now given his previous hostility, just saying that he thought Batman was dead. Suddenly they are attacked by some of their main adversaries. However, these are just more of the manifestations generated by the Shaper, and they turn into butterflies or lizards when punched. When they reach the door to the warehouse, they can’t enter because there is some sort of force-field. This gets the Hulk really, really angry, and he charges it with all of his might – and gets through, as there is a blinding flash of light. Afterward, Banner’s unconscious form can be seen lying on the floor, and the Shaper is feeling fine. He apparently absorbed enough of Hulk’s gamma radiation to restore his health. Now the Joker shows up and demands that the Shaper live up to his end of the bargain. Batman tries to put a stop to this, but to no avail. The Shaper honors his deal, and gives the Joker god-like power. Joker wills himself to become king of the world. Banner wakes up in the meantime and pleads with the Shaper to put a stop to this, but the Shaper brushes him off. Banner becomes righteously enraged, and turns into the Hulk again, but when he charges, the Shaper makes him disappear. In Gotham, the Joker is have a field day, molding the world into his image (and turning Batman into a corpulent clown). The Hulk appears, and unsuccessfully tries to punch the Joker, and also gets turned into a clown for his effort. At this point, Batman begins to taunt the Joker, asking him if such petty changes are the best he can do. So over the next 3 pages the Joker begins altering reality in different ways but Batman keeps challenging him to do better, until the Joker finally has an apparent nervous breakdown and passes out. Everything goes back to normal, and the Shaper, saying the bargain has been fulfilled, departs from Earth. In the epilogue, Batman, Banner and Commissioner Gordon look on as the Joker, committed to a psychiatric ward, dreams a dream of ruling Earth. Banner slips away, and Batman tells the Commissioner to wait before putting an APB out on him, saying they owe him a chance to get away and try to “find whatever he’s looking for.”

ML: Fun fact: in his long, storied career, the great Jose Luis Garcia-Lopez has drawn exactly 7 Marvel characters: the Hulk/ Bruce Banner, The Shaper of Worlds, Thunderbolt Ross, Doc Samson, The Leader, Rhino, and Abomination.

HB: While I appreciate the effort ('cause I do think it was there), this whole shifting dreamscape showdown falls terribly flat for me. Here's why:

1. Most of the Joker's " unique mind in the universe" world-mods (see how I used a current video gamer reference there? Yeah?) are, frankly, darned cliché'. We see Wonderland, Salvadore Dali, MC Escher, Picasso (Abstract Expressionism, is it?), and Hieronymus Bosch as the influences that stretch the Joker's creative ingenuity to the breaking point. And I'm thinking--- "that's it--?" 'Cause those are generally the go-to visual elements when someone wants to depict a Weird, Crazy, Disturbingly Warped setting in a dream or vision or whatever. I mean-- they show up in old, OLD Warner Brothers cartoons, even. They're a common short-hand, really. Which once again tells me loudly that this book was done with a publisher standing nearby with a loud time-clock ticking away. (Probably a squishy, Dali-influenced one. . . )
2. Lack of detailed backgrounds takes even further punch out of the desired alien/weird effect necessary to put this over. Again-- not enough time to put more thought or effort into the book.
3. Uhm-- so to save the day, the Hulk's strength is useless; Batman's detective skills and physical prowess and tech are worthless. Ultimately, Batman uses transparent, rudimentary, soft-bullying psychology to cause the Joker to. . . have a fatal slip of the tongue-???? (Very nearly identical to the slip of the tongue that caused the villain's downfall in Hulk #155, mind you-- so it's not even clever or original.) To say this is unsatisfying is a wild understatement. For one final time it simply screams, "get the thing wrapped up somehow so we can get it to the printers-- I don't CARE who the book was supposed to be about!"

HB: And then we get the stock ending from the TV show—a la The Fugitive. Because. . . we should just abandon the promising scientific work that Bruce was onto right before he was kidnapped? NOTHING about that thread of this plot had changed at all-- it was simply interrupted by bad-guys machinations.

ML: Batman agrees that the Joker’s rewriting of reality isn’t all that original; he even calls him out on it in the comic! This reader knows better than to argue with the Dark Knight (not to mention the Human Belly!) but I’m glad we are treated to Garcia-Lopez’s homages. Even though he’s drawing super-heroes, JL G-L’s artwork keeps a foot in the plausible- his anatomy and composition create believable characters and environments. Seeing him break down reality, even if the breakdown contains derivative elements, is fun. I think the lack of background enhances the unreal nature of the proceedings. It’s like a Ditko Dr. Strange dimension. JL G-L takes it a step further by making the only ground the characters can stand on curvy and unstable. There all kinds of great touches, my favorite being the transitions on page 62. Standard comic book Joker to Picasso to ‘70s album cover- I can’t help but think JL G-L had a good time with this part of the book.

ML: Stray observations: I like how Bat-clown looks ridiculous, but somehow Batman retains his dignity. JL G-L goes Neal Adams for a panel on page 59, when he has the character look at the reader with a grumpy face and point. The Hulk’s confusion when his punch has no effect on the Joker is priceless.

EB: Oh, man, I love those panels where Garcia-Lopez just went crazy. The art homages are a visual treat, as are the clown-versions of Batman and Hulk.

ML: The comic’s biggest sin is how little Hulk does in the climax. Len Wein of 1981, I offer up a (slightly) better ending: Batman challenges Joker to create more original reality warps. While the Shaper feeds the Joker power, his concentration is on the Joker alone. Joker’s obsession with beating Batman takes over, causing him to half ignore the Hulk. Hulk can’t touch the Joker, but he slips out of the localized reality warp enough to smash the Shaper. The resulting psychic feedback kayos the Joker. His debt to the Joker fulfilled, the Shaper says “Nuts to this” and takes off. Cue semi-nonsensical ending.

HB: Wow-- what a strange place this re-examination has put me in! I love the art about 10 times more than I realized before--- whereas the writing/plot has exposed unexpected raw nerves. And overall effect is that it's all still a fairly enjoyable romp that becomes, sadly, pretty easily forgettable. I kinda like it-- but am not in love with it, y'know? 

ML: Ultimately, Batman vs. the Incredible Hulk functions best as a showcase for Jose Luis Garcia-Lopez’s artwork. It’s worth buying and leafing through just to see how smoothly and beautifully he illustrates the characters and set-pieces. There’s no getting around the fact that even a well-told Batman/ Hulk crossover is going to be a trifle, but I wish Len Wein had done a better job incorporating the Hulk into the story (especially given how many pages he had to work with!). How much the reader enjoys the comic depends on whether or not they need substance amidst some extremely impressive flash.

EB: I have to say in conclusion that I’m a little more charitably inclined toward this book than either of you. For all of its flaws/plot-holes, I have to say that even after the second reading I still rather enjoyed it overall. The fact is that all of these company cross-overs suffer from having to devise a way to bring the heroes together, and it usually seems at least a bit forced (much as I liked it, the Avengers/JLA crossover is really guilty of this). I think the only crossovers that had a really ‘natural’ feel to them are the excellent Batman & Captain America and possibly the X-men/New Teen Titans.

EB: Otherwise, I’ll readily agree that a big part of my enjoyment of this one is the stunningly beautiful art. Echoing Mike’s comments in the first section above, I think it’s truly a shame that Garcia-Lopez never had a run (10-12 issues at least) on a Marvel title, preferably something with lots of heroes in it, like Avengers or Defenders (i.e., more work with the Hulk, and seeing him do Dr. Strange, Val, Nighthawk, Hellcat and the rest would have been a real treat).