Batman Arkham: The Riddler (May 2015)

rid.pngMost Bat-fans glorify and self-identify with The Joker, but in actuality the average DC Comics fanboy is closer to The Riddler: needy, nerdy, narcissistic and way too smug about the lifetime of meaningless trivia they’ve accumulated.

That said, I love the guy. His gimmick is basically self-sabotage disguised as grandiosity. He’s every overweight dork in jean shorts and a fedora who just spent six months in the gym and studying how to be a Pickup Artist, whose core of vicious insecurity is barely inches below his flamboyantly confident new exterior. There’s a neurotic underdog aspect to his criminal insanity, as opposed to the anarchist self-indulgence or melodramatic tragedy of so many other Batman villains.

Chuck Dixon’s 1995 origin story Questions Multiply the Mystery formally introduced this angle on Edward Nygma, and it’s a real pity it wasn’t included in this first official Riddler “greatest hits” trade paperback. Why not? Where also is the other key Riddler appearance of the modern era, Neil Gaiman’s deft little post-modern 1989 tale When is a Door? Essentially a monologue by an aged, wistful Riddler, he reflects on how everything in Gotham’s gotten so grim and gritty of late and there doesn’t seem to be a place anymore for super-criminals like him who just want to have some goofy fun – rather than rack up a body count. A simple observation, but the entire key to Riddler’s role in a post-Dark Knight Returns world: compared to the rest of Batman’s increasingly depraved Rogue’s Gallery, Eddie is relatively something of a gentleman.

Batman Arkham: The Riddler doesn’t include either of those gems, or even a single story from 1984 to 2006. As if there wasn’t a decent Riddler comic for 22 years! Absent any apparent legal reprinting issues, this yawning historical gap seems to have been caused simply by editorial ambivalence. The laziness is there at first glance, from the recycled New 52 cover art to the title – who’s “Batman Arkham”? I gather the idea that the collection is akin to a trip to the E. Nygma cell at Arkham Asylum, but there’s not even an introduction describing the character’s legacy, let alone some “Heh, heh, heh! Welcome to Arkham, kiddies!” kind of Cryptkeeper curtain-opener. Of the 14 compiled issues, the first 9 are from the Golden, Silver and Bronze ages of DC and that alone probably makes the book worthwhile overall, especially for Riddler’s 1948 debut by Bill Finger & Dick Sprang, and 1960s revival by Gardner Fox.

The Riddle-Less Robberies of the Riddler from 1966 is a particularly memorable bit of introspective villain psychoanalysis: Riddler decides to stop leaving riddles and just be a normal thief, only to discover his addictive obsession won’t let him quit. A definitive story, but its inclusion is probably chance. Why, for instance, if you’re only going to reprint two Riddler stories from the whole decade of the 1970s, wouldn’t you want to include the one that Neal Adams drew? It’s like they were picked at random. Even the modern age choices feel arbitrary – like an abysmal 2007 Paul Dini issue of Detective Comics which is primarily a Harley Quinn timewaster using Edward Nygma as mere supporting player. No respect. How appropriate.

The contemporary stuff isn’t all bad, however. Scott Snyder & Ray Fawkes’ 2013 Riddler one-shot Solitaire is the only Batman comic I’ve read since the Animated Series spinoffs to build thoughtfully on the conception of Edward Nygma as a conceited intellectual who doesn’t realize he’s also a lunatic.

Batman Arkham: The Riddler is far from the ideal compendium for one of Batman’s oldest, most unique and iconic adversaries, but asks a fair enough price for all his earliest classic battles of wits in one volume.

CREDITS

Writers, Bill Finger, Gardner Fox, David Vern Reed, Len Wein, Don Kraar, Doug Moench, Paul Dini, Peter Calloway, Scott Snyder, Ray Fawkes, Charles Soule; artists, Dick Sprang, Sheldon Moldoff, Frank Springer, John Calnan, Irv Novick, Carmine Infantino, Don Newton, Don Kramer, Andres Guinaldo, Jeremy Haun, Dennis Calero; editor, Rachel Pinnelas; publisher, DC Comics.

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Where Monsters Dwell 1 (July 2015)

Where Monsters Dwell #1

Thank goodness for Secret Wars, otherwise Garth Ennis and Russ Braun wouldn’t be doing a riff on pulp heroes. It’s got that Ennis attention to period detail, which Braun goes along with, but it’s far more irreverent than expected. Given Ennis’s concentration on historical war fiction, Where Monsters Dwell–set sometime post-WWI–works out beautifully. Ennis can put the serious attention into setting while still just having a good time.

And that good time is what puts Monsters immediately apart. The story seems to have the hero–The Phantom Eagle–ending up in the Savage Land because of the end of the world. Only the hero, nor anyone else Ennis introduces this issue, knows the world has ended. Instead, they’re just 1920s people ending up in the Savage Land.

And it works out. Braun doesn’t get a variety of dinosaurs to draw here, but his period work’s beautiful stuff.

CREDITS

Let’s Fly, Let’s Fly Away; writer, Garth Ennis; artist, Russ Braun; colorist, Dono Sanchez Almara; letterer, Rob Steen; editors, Jake Thomas and Nick Lowe; publisher, Marvel Comics.

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