Tag Archives: Len Wein

The Untold Legend of the Batman 3 (September 1980)

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Untold Legend limps across the finish line. Aparo’s art doesn’t even maintain interest (his “handsome man” standard is really boring and in this one a lot). But it’s mostly because Wein doesn’t have any interesting flashbacks this issue.

There’s Commissioner Gordon, which should be more interesting–it briefly recounts Gordon’s time spent hunting Batman–but Wein doesn’t give it enough time. Then Batgirl gets a few pages. Again, not paced well and quite absurd. Gordon’s standing around his office talking to himself about his daughter being a superhero.

Then the final flashback is Lucius Fox for a page. It’d be pointless if there were any point to Untold Legend except as a primer for new or returning readers.

But Wein’s writing isn’t even on par for marketing material. Hostess Fruit Pie ads are better written.

The ending’s nearly iconic though, maybe the quintessential (good) Aparo Batman story closer. Very memorable.

The Untold Legend of the Batman 2 (August 1980)

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With Byrne gone–and Aparo taking all the art duties–Untold Legend actually becomes visually distinctive. While Aparo’s faces aren’t compelling, he does a lot of nice work this issue. Wein’s script covers a lot of events and Aparo has a particularly nice time with Alfred’s flashback. The war panels are excellent.

This issue, Wein covers Robin and Alfred’s origins and also Two-Face and the Joker. The most interesting historically continuity details? Wein’s Joker isn’t insane, he just thinks being funny looking will scare people. Also Alfred… he wasn’t always the Wayne butler. Wein should have told the whole series from Alfred’s perspective.

Somehow having the comic less from Batman’s perspective works better. Wein’s Batman is obnoxious.

Like I said, the series is worth a look just for historical interest with the mashed together origin events, but Wein’s framing story is just plain lame.

It’s not even a mystery.

The Untold Legend of the Batman 1 (July 1980)

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The Untold Legend of the Batman might have good art… but it’s hard to tell. Each page is packed with panels–except one pin-up page, which is pretty good–and it’s hard to get a handle of John Byrne’s pencils (with Jim Aparo inking).

Some of the pages are pretty good though, but it’s certainly not a comic to read for the art. Sadly, it’s also not a comic to read for the writing.

Untold Legend is a streamlined retelling of Batman’s original, adding in all the Earth-One origin developments. It’s excellent as a curiosity (I’d forgotten teenage Bruce Wayne was Robin to some police detective) but Len Wein’s writing is atrocious.

Most of the comic is Bruce retelling his history to Alfred. One would assume Alfred would know some of these events, if not all.

The issue’s painful at times, a shopping list of contrived origin events.

Swamp Thing 33 (Febraury 1985)

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So while Swamp Thing has his adventure in “Pog,” Abby has her own one here. Except she’s mostly just in a framing sequence, not quite an adventure.

For whatever reason, Moore brought the original appearance of Swamp Thing into continuity with this issue. So there’s a few pages of Abby with Cain and Abel–Moore’s starting to explore the nature of storytelling a little, something he’d later expand on in Promethea–and then a reprint of the Len Wein and Bernie Wrightson House of Secrets Swamp Thing.

The end ties it all together, but the story isn’t consequential at all. It’s Moore mixing playfulness and good humor. He ends it on a joke. Moore’s often his most startling when he’s doing light comedy. It’s nice.

Ron Randall does the Abby bookend art. It’s the best work I’ve seen from him.

But he’s nowhere near Wrightson.

And Wein’s nowhere near Moore.

The Saga of the Swamp Thing 18 (November 1983)

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Hey, wait a second, I’ve already read this story….

This issue reprints the tenth issue of the original Swamp Thing series, when Arcane swims across the ocean and attacks Swamp Thing only to be defeated by the spirits of dead slaves. Wrightson art, one of Wein’s last good unsettling issues, it’s a good comic book. Wish whoever had been in charge had at least changed the editor’s notes so it didn’t refer to the second issue of the original series here in a Saga of the Swamp Thing book.

There are bookends, of course, and I guess they’re were the issue has problems. The flashback isn’t particularly important, at least not as a full reprint. Pasko, Bissette and Totleben could have retold it in a page or two. It’s an awkward fill, since it doesn’t do anything to resolve the previous issue’s cliffhanger.

They should’ve just taken a month off.

DC Retroactive: Batman – The ’70s 1 (September 2011)

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Once one gets past Len Wein’s expository narration—and his way too self-aware Batman thought balloons—Retroactive is a good bit of fun.

The story’s got two possibilities for predictable revelations and Wein plays with it. He fulfills one of them but then completely ignores the second. Instead, he does something utterly goofy in the context of a one shot but perfect if it were a “missing” adventure.

However, having Tom Mandrake do the art for a seventies Batman book is a little odd. Mandrake’s artwork is utterly fantastic. His Batman is big and scary and his Bruce Wayne is urbane. He’s got some amazing panels of people and I wish he’d do a talking heads series; it’d be beautiful.

But it’s not seventies Batman style. He’s way too good for the absurdities Wein sometimes lobs at him (and the reader).

It’s a surprisingly okay issue… with fantastic art.

DC Special Series 27 (Fall 1981)

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The issue opens with Len Wein’s nearly incomprehensible expository narration. While the comic is written almost more as a tie-in to the “Hulk” TV show and an introduction to Batman, one almost needs an English degree to figure out what Wein’s trying to say.

But his plotting isn’t much better; in fact, it’s worse. At one point, Batman teams up with the Joker. You know, instead of arresting him for the mass murders and so on. Not to mention the big Marvel villain (the Joker’s partner) is this stupid space alien who looks like a jack in the box.

Actually, it’s too bad—the Hulk and Batman go together because they’re so different. The Hulk’s all about lack of control, Batman’s the opposite. A better writer would have found a good story.

However, the Jose Luis Garcia-Lopez art makes the comic worthwhile. It makes up for the writing.

The Phantom Stranger 14 (July-August 1971)

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I don’t think I’ve ever seen pre-eighties Jim Aparo before. It’s absolutely stunning. The tight faces are present, but there’s also a bunch of energy. I never would have thought he’d be a great Phantom Stranger—or any supernatural story—artist, but he excels.

Len Wein comes up with two good stories for the issue, though the Stranger one is better. This villain figures out a way to capture the Stranger and then takes out his heart, figuring transplanting it into his body will give him immortality. Of course, it doesn’t work out as planned (does the Phantom Stranger actually need a physical heart?). Wein has some purple narration, but the plot moves fast and Aparo makes it damned creepy.

The Doctor Thirteen backup is a little silly (Wein opens with a swamp monster and ends with a sci-fi thing), but Tony DeZuniga’s art makes it simply wonderful.

Swamp Thing 13 (November-December 1974)

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Even though the issue ends with a teaser of the next one, it reads a little like Wein was preparing for it to be Swamp Thing’s finale. Swamp Thing reveals his identity to Matt Cable and then, instead of setting off with Matt to adventure, heads back to the swamp. It takes Swamp Thing a night to walk from Washington D.C. to Louisiana. Wein’s not so great at geography apparently.

This issue features Redondo’s best work so far. Besides integrating horrific into his tragic renderings of Swamp Thing, he also gets to do a lot of regular action. Matt and Abby put on SHIELD uniforms to break Swamp Thing out, for example.

Wein starts off stronger than he finishes, opening with Swamp Thing discovering his serum, in the swamp water, has been mutating the wildlife. It’s interesting, but Wein moves on immediately.

It’s goofy and pointless, but never too bad.

Swamp Thing 12 (September-October 1974)

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I’ve decided what Redondo does so differently from Wrightson (and how it effects the book). He draws Swamp Thing not as a muscle-bound, ideal specimen… but rather a lumpy, awkward creature. No wonder he looks forlorn all the time. It changes how the book plays. One wouldn’t think Arcane would be after Swamp Thing’s body if he’d seen it as Redondo conceives it.

The issue is a depressing affair, with Swamp Thing tied to an unfortunate man who’s cursed to live forever… starting at the dawn of time. It apparently gets lonely when one’s alive billions of years. Wein plots it a little like a mystery, which works, but Swamp Thing’s inglorious departures from various time periods leaves something to be desired. Oddly, the internal thoughts start poor and get better, like Wein’s getting back into the groove.

Speaking of upping the grooviness… Wein gives Cable a black sidekick.

Swamp Thing 11 (July-August 1974)

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Nestor Redondo has the somewhat impossible task of following Bernie Wrightson. He does pretty well, though he could have gotten more help from Wein. Redondo recasts Swamp Thing as more of a lumbering superhero (Redondo’s expressions of Swamp Thing’s frequent dismay are startling, given the character is genetically predisposed to stoicism). But he does fine. The cliffhanger’s fantastic and his people are good.

But Wein’s plot and his details (the dialogue, Swamp Thing’s thoughts) are all questionable. The issue’s a sequel to a Phantom Stranger issue Wein wrote three years earlier… it ties Swamp Thing to the greater supernatural DC universe, but it’s an odd fit. There’s only so much one might believe could happen in Swamp Thing’s particular swamp.

There’s a lot of cruelty; Wein explains why it’s okay later, but it’s a cheap excuse. He also objectifies Abby here (for the first time).

It’s all right, just… off.

Swamp Thing 10 (May-June 1974)

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I love this issue. I only sort of remembered it, but I love what Wein and Wrightson do with it. Wrightson gets a story credit so maybe he’s the one who came up with the concept. Swamp Thing’s back in his swamp, basically just hanging around, when he comes across an old black woman. A very old black woman; she used to be a slave on a plantation nearby. She tells him a story about how the swamp is protected by the ghosts of slaves.

Then Arcane and his Un-Men show up and attack Swampy. You get a few pages of beautiful Wrightson fight art, then the slaves’ ghosts show up to save Swamp Thing. He sleeps through the fight; it happens unseen.

The issue has a dreamlike quality to it. It’s this haunting little story where Swamp Thing isn’t even the lead when fighting his nemesis.

Just wonderful.

Swamp Thing 9 (March-April 1974)

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Wein and Wrightson (he has some amazing panels this issue, whether Matt and Abby at the beach or a captured alien) are back on task this issue.

While Wein still overwrites, the plotting is so good it doesn’t matter again. This issue brings Swamp Thinig back to the swamp where he was created and Wein nicely contrives to get Matt back there too. Swamp Thing’s back to work in his lab—it only occurred to me this issue all his adventures previous were out of his control; the delay is because Arcane grabbed him second issue—and he runs into an alien.

The alien’s using the lab to repair his spacecraft, which leads to some misunderstanding between him and Swamp Thing. The alien design from Wrightson is singular; it’s utterly brilliant.

Cable shows up with the rest of the government agents to contain the situation.

Compications ensue.

A great issue.

Swamp Thing 8 (January-February 1974)

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While the cover—Swamp Thing versus green tentacles—might be memorable, this issue is the first where Wein doesn’t come up with something distinctive as far as narrative. It’s Swamp Thing not versus green tentacles but versus a Lovecraftian god. A really, really weak one who lives in a mine and eats people to get stronger. Swampy takes him out with a cave-in.

Wrightson’s panels, on the monster section, are very strong. He draws a hideous creature and does the summary of its history well too. But the rest of the issue feels dispassionate. Swamp Thing shows up in town after fighting a bear. It’s not a very interesting fight scene, against the bear, in a cave. And then there’s a bunch of talking heads pages, only since Swamp Thing doesn’t talk, it’s rather boring.

It’s decent enough, but something’s definitely missing.

I mean, where are Matt and Abby?