John Byrne returns to another DC/Marvel crossover, a paired Batman and Captain, though not obvious, expected way. Byrne did not have the current version of the combination of characters, but instead set his story in 1945.
This setting makes this the most unusual of many DC/Marvel crossovers…and better crossovers.
Byrne has certainly found, defining and perfecting his personal painting style in his career, drawing inspiration from older artists to play the role, most notably Cap creator Joe Simon, Jack Kirby and Batman Artist Sprang, as well as filtering through his own style. The result is the ultimate “if…” story, not just a “if… Batman met Captain America in the 1940s?” and more like “if… DC and timely cooperating with the 1940s Bat Hero/Captain crosses the border?”
This could be something like this…although I think it’s worth noting that, like Byrne has mastered the characteristics and design notes of War Time Comics, the storytelling style is a modern one style. He did not attempt to disgust the media’s more proficient formats in the early days.
Bourne will certainly draw inspiration from this book. When we discuss his first work in the comprehensive magazine, I noticed that I actually read very few Bourne comics, and I wasn’t very impressed with Kirby’s design and characters in the 60s and 70s. Darkseid vs. Galactus: Hunger. His work here seems to be above that, perhaps because he has synthesized with his own styles (even brief appearances in Rock Sergeant and Easy Company, both with Joe Kubert’s character renderings ). Or, perhaps the real world, the historical environment will only make it easier for readers to buy visuals rather than sending Galaxy and Silver Surfers to stories that Apokolips can manage.
Anyway, the first page left a deep impression on me. By the way, the architecture is more stylish and the appearance is more detailed than the ones in the box on the cover.
Maybe I am used to seeing the backgrounds and skylines obtained from photographic references, sometimes just falling directly into the artwork through computers, and now I am easily impressed by the artist. painting Buildings, but Byrne let me read this first page.
We first meet Batman and Robin in the chase car, in that Joker, who escapes his jokermobile, and the Batmobile is in the hot hunt. Prince of Crime’s Joker’s benefit from the seat of the pop-up, which is an unexpected escape, while Batman picks an unusual clue from the remains of his awkward vehicle.
It then reached the frontlines of Europe, and although he took the lead in striking and defeating a giant Nazi “chariot”, he was like he once threatened the Blackhawks (here revealed here, a splash panel shows the size of its size) despite his lead in striking and defeating a giant Nazi “chariot”. ). Cap and Bucky were ordered to return to the United States and conduct new, more urgent tasks.
On the way back they encounter a hijacked plane, and the hat tries to jump on it from his plane to rescue it, but he misjudged it and is about to fall into his death… When Batman Hanging from the rope ladder of the bat plane, grab him, the two of them catch the bad guys together and rescue… Robert Oppenheimer?
“Then, this priority flight is connected to Gotham Project?“Batman asked which reader should think of the comic’s answer to the real-world Manhattan project. The project that developed the atomic bomb was the key to the comic plot.
The Joker has obviously been targeting elements of the project, and the U.S. Army suspects that “he’s just a pawn In this business… manipulate By someone higher.“Their suspect? Millionaire Playboy Bruce Wayne, who is so clean, looks suspicious. Actual The taller order clown is on the back cover, the hat is red skull of garlic. )
To make the truth come true, the Army allocated private Steve Rogers as Bruce Wayne’s bodyguard, squeezed two men’s styles and eventually led to a suspicious Rogers skipping Wayne Um (Wayne realizes they are fighting each other in secret, eventually shaking hands like Batman and Captain.
There are some investigations below: Two heroes swapped their partners, and it all led to climaxes, with four heroes boarding the bat board to chase the red skull plane, which carries the Gotham project’s “Fat Boy” bomb and Racing to Washington, DC, the skull plans to put it down.
Obviously, this plan ultimately limits the plan to at least some extent. The villains in these things usually don’t end up falling into some form like their heroic peers. But here, the clown’s disagreement with the skull comes from his patriotism?
After seeing the skull for the first time in person, the clown learned that he had been working with the Nazis.
“I might be a criminal madman, But I’m one American Crime Madman!“He said, reaching for the clown gasoline.
Eventually, the skull puts the clown on his head and puts the plane on his plane, and the two end up fighting on the bomb until the bomb drops to the point where both fall on the plane.
At the end of the two pages, the box of “Special Thanks” by Roger Stern made suggestions twenty years after the events of the comics and moving the books further to the real other world territory…at least in Batman side of the equation. Captain America’s side is in line with his own history, although there is a twist specific to this crossover here.
Next step: 1997 Daredevil/Batman #1
