DC have found a lot of recent success with the “Batman ’66” brand recently, having revitalised it in modern comics. They’ve crossed over with other company’s properties, but for me, nothing has caught my attention quite like this one. Better yet, the full Allred family is on as creative talent. Let’s see how campy action works when mixed with campy SciFi.
Written by Lee AllredCover by Michael Allred
Illustrated by Michael Allred
Colored by Laura Allred
Lettered by Wes AbbottIn pursuit of the time-traveling criminal known as Universo, the super-powered kids from the 30th century travel back to the 1960s to enlist the aid of the “greatest teen superhero ever”—Robin, the Boy Wonder! But Batman’s hard-boiled nemesis Egghead has stolen one of their unattended time bubbles and taken off to the Legion’s own time period. Looks like Batman has to head to the far-flung future with one group of heroes while Robin stays in the swinging sixties with another. Holy time-travel paradox!
The Allreds take the theme of the original show and really run with it here. Those of you who are used to Batman as a cold, calculating and obnoxious type will be somewhat disoriented – nowhere before have I seen a Batman so wholesome. It’s great for the overall tone of the comic, representing the campy theme to a T. On the same note, the Allreds clearly had a lot of fun with the Legion of Super Heroes. The best example is Braniac 5, who is depicted as a jealous, know-it-all type who scoffs at 20th century technology. It’s a great way to diversify a cast that can fall into the trap of being too one-noted, but also retains the lighter tone of the original show.
The counter-working narratives also work great together, feeling smooth and readable for the most part. Batman goes to the future with Braniac 5 and some of the more senior members of the LOSH. Robin stays in the present with younger members of the LOSH to track down one of their villains in Gotham. Both are cleverly written, and feel like naturally executed episodes of the original series. The future narrative is filled with the typical space-age museums, but works best when it has Batman and Braniac 5’s personalities clashing. Often it makes for great comedic effect, having Batman revealed to be right all along or similar situations. The present timeline has a great zinger as well, as the younger members of the LOSH are shocked to find that Robin is not actually super powered, and simply human.
Some of the transitions between scenes can be a little sudden and jarring, however. Most of the are punctuated by a splash of yellow text narrative, reminiscent of the TV show, which might say ‘MEANWHILE, AT A 30TH CENTURY SPACE BARN…’ but occasionally, the scene will just shift the following page into the concurrent narrative without any warning, and I had to do a double take to remember where I was. Since most of the narrative is set in caves or relatively normal looking locations, it’s not obvious to be able to tell from the first panel. However, it does have great moments, in which a scene change will be indicated through a direct passage of time, such as Egghead moving to the time machine, or moving from a darkened sewer to ‘THE DARKENED HALLS OF A 30th CENTURY MUSEUM’.
People who’ve read my reviews must know I’m a huge fan of Michael Allred’s fantastic pulpy art, and there’s nowhere else it could fit so perfectly. Michael understands perfectly how to seriously represent the ‘BAM’ ‘POW’ statures of the original show. Each character has an awkward confidence about them which works especially well with his take on West’s Batman. His face somehow manages to convey emotion simply the static use of West’s chiselled cheekbone and pursed lips. Michael also contrasts this really well by having the brooding, tortured looking Braniac 5 be at the receiving end of Batman’s wit. Despite his teenage representation, he manages to look like a focused scholar, which works great for his character and for comedic effect.
The real appeal for longer ’66 readers here is to see the campy take on the 30th century, and Michael doesn’t disappoint. The architecture is clean and culturally diverse, a real aesthetically nice place to look at. Michael also makes sure to let you know you’re in the 30th century, but through the eyes of a 20th century vision. There’s lots of swirling atom path patterns, purple and green circle shaped spires, and generally psychedelic-tinged art on display throughout the issue. What I loved best, however, was when Batman first arrives in the 30th century, Michael has him flying like an Olympian figure, amidst a sea of like-minded superheroes. It’s an awe inspiring image, and works great at displaying Michael’s figure and composition work.
Continued belowSpeaking of, there’s some great overall composition choices Michael uses to make the reading smoother and interesting. Circle shaped panels spot the pages in a way that gives the narrative an almost soliloquy – when the LOSH ask Robin about having powers, he’ll appear in one of these bubbles saying ‘UH, I DON’T HAVE ANY SUPER POWERS’. It’s a great way to show both passage of time, keep the reader interested by catching them off guard, and feel campy at the same time. Smack bang in the middle of the issue lies the best page, compositionally and in sheer entertainment factor. Michael presents Braniac 5 and Batman trying to deduce the whereabouts of Egghead in a Snakes & Ladders style page – it’s the whole Allred family working at their funniest, and looks a real visual treat too.
Laura Allred ties the whole issue together perfectly, giving you the acid tinged neon palette of the 60’s compressed into comic book format. The future has a pleasant, pastel color scheme, combining the best of 60’s art and Jetson Family style architecture. The buildings that Egghead witnesses are vibrant and weird, and a whole lot of fun to take in. Unfortunately there’s a kind of inescapable feeling of flatness at times that stops this issue from reaching the mind melting peaks it could have. There’s a lot of scenes grounded by grey concrete colors, something which is faithful to the original show but in the context of a comic, doesn’t work too well. It hurts the immersion at times and makes the comic lean more towards nostalgic cash-in than genuinely good comic.
The “Batman ‘66” line proves to be still fresh and full of potential with the most recent entry by the Allred family. This issue is a whole lot of fun, aesthetically and storywise, and something that will please older and newer fans. A few small design choices hold it back from soaring, but it’s still a perfectly solid self-contained story.
Final Verdict: 7.5 – The Legion of Superheroes get a campy style makeover in this crossover by the always excellent Allred family.
