Batgirl: truly superb comic storytelling

Well, this is quite nice:

Way back when, after Gotham City was devastated in a massive earthquake (see Batman: Cataclysm and Batman: No Man’s Land in 2000) it was written off and abandoned by the US government in a spookily prescient foretaste of what would happen to New Orleans after Hurricane Katrina hit in August 2005. Amidst the rubble, a number of heroes struggled to protect the innocent. One of these was a brand-new incarnation of Batgirl. 

As the crisis ended and a semblance of normality returned to the battered metropolis, the new heroine got her own series and a mentor in the form of Babs Gordon, the wheelchair-bound crime-fighter called Oracle, who was also the first Batgirl. 

The new operative is an enigmatic problem. Raised in utter isolation as an experiment by martial arts super-assassin David Cain, she cannot communicate. Part of the process creating Cassandra Cain was depriving and overriding her language centres in an effort to make combat her only communication tool. An apparent runaway, she was briefly adopted by the Batman as another weapon in his never-ending battle, before the more humane Oracle becomes her guardian and teacher. 

In this first paperback/digital volume – spanning April 2000-March 2001 by collecting #1-12 of the monthly series and first Annual – the new Batgirl is trying to find her way, bereft even of the ability to learn, whilst revelling in the role of defender of the helpless, but her development as a human being threatens to diminish her capacity as a weapon, and the mystery of her past would indicate that she is possibly a two-edged sword in Batman’s arsenal… 

In a bold experiment, initiating writers Scott Peterson and Kelly Puckett eschewed the standard format of individually titled stories to craft a continuous string of high action, deeply moving episodes which saw the neophyte street warrior battle the dregs of Gotham City while attempting to adapt to a life where not every person was her enemy. Fast, furious, frenetic, visually expressive incidents (illustrated by Damion Scott with inkers Robert Campanella & Coy Turnbull) are interspersed with flashbacks to her lethal and cruel formative years with Cain pitting her against assassins and worse, while keeping a stunning secret of her natal origins all for himself… 

Spellbinding, overwhelmingly fast-paced and terse to the point of bombastic brevity, this is a breakneck, supercharged thrill-ride of non-stop action that still manages to be heavily plot-based with genuine empathy and emotional impact. Truly superb comic storytelling which should be on every fan’s wish-list or bookshelf.

Batman Adventures #3

I saw part of this page posted on tumblr earlier today

and after I once again managed to (sorta) get over the utter brilliance of the great Ty Templeton, it reminded me of how that second panel came about, and how it's a small example of just how fantastic and different a writer Kelley Puckett is.

After the page was drawn, I sent it to Kelley and said I thought he should add dialogue to the hitherto silent second panel; he could just continue the song from the first panel. Easy-peasy!

Instead, Kelley has the Joker continue to sing the song for a bit, and then start to mumble words to fit the melody. Because he can't remember the words.

I remember the two of us laughing because who on earth is over the age of 5 and doesn't know the words to "I've Been Working on the Railroad"? Especially since it's just a repetition of the title!

On one level, it's simply really funny. On another, it illustrates just how very different from anyone else the Joker. And the fact that the nonsense syllable the Joker uses to fill time is the same as the Batman theme song is just an added bonus.

Superman by Kevin Nowlan

An extensive Google Image search seems to reveal not one single hit for this amazing Superman splash page by Kevin Nowlan. So let's rectify that, shall we?

that's right, that's my handwriting at the top. no, I'm not taking sole credit for the brilliance of
the issue. not in public, at least

That is, of course, from Legends of the DC Universe #6 by the phenomenal creative team of Kelley Puckett, Dave Taylor and Kevin Nowlan, a team which, sadly, despite having absolutely amazing chemistry, did but the one issue.

But what an issue. It was just a single issue in the middle of an anthology series, yet both Chuck Dixon and Ron Marz have listed it amongst the comics they think are some of the greatest ever—and, as usual, those guys are right. Kelley's script was typically incisive in his minimalist way. Dave—one of my favorite comic book artists ever—was at the very top of his absolutely incredible game, and his layouts were utterly clear yet propulsive and inventive, despite being done in something like a week (not his fault: the issue was rushed into the pipeline when some other creative team dropped out belatedly). And, of course, Kevin's inks and colors were...well, they were some of his very finest ever, which is saying something, considering he's one of the very greatest artists in the history of the medium—truly an artist's artist.

Sometimes I can't believe how lucky I am.

minimalist storytelling

I've worked on hundreds and hundred of comics, as either writer or editor, but Batman Adventures #20, by the unbeatable creative team of Kelley Puckett, Mike Parobeck and Rick Burchett is the only comic I can remember where not only did the writer note in the script that the penciller and inker owed him a debt of gratitude for the paid day off, but where the letterer actually wrote in the margin on the original board, "I get the art to this page"...and indeed he—the great Richard Starkings—did. And justifiably so.

I don't remember who ballooned this page. I was usually a stickler for doing the ballooning when I was editing, but Richard always felt free to tweak the placements as he saw fit. I have no idea whether he did or not here—although knowing Richard, he probably did—but he surely placed each and every balloon absolutely perfectly, down to the millimeter.

Kelley Puckett in Batgirl Beyond

When Annie Wu and I did Batgirl Beyond a few years back, my old pal Kelley Puckett gave me feedback on an early version of the script. I graciously thanked him here in this second panel. That's the kind of loving, respectful relationship we have.

Batman Adventures #1

My first full editing credit. The great Ty Templeton gave me the first page...and also no end of grief (entirely deservéd) for not catching the misspelling of Sam Agro's name, something for which I had precisely no defense. What can I say? I was young(er) and stupid(er).

The eagle-eyed will catch that wasn't the only mistake I made on this issue, but I'm surely not going to point out the other one, since it's really haunted me ever since. I like to think I got better. Or at least out of the editing game.

The Secret Secret Origin of a Batman Villain

This here blog, Oh, the Things I Do, has written quite a few very nice pieces over the past few days about various books I've written—some Gotham Adventures issues as well as some of the Batgirls I co-wrote with Kelley Puckett. (Much as I would love to claim otherwise, Kelley very much did the lion's share of the writing on those. And Damion Scott's artwork continues to blow my mind with its awesomeness.)

One of the issues she wrote several times about was Gotham Adventures #49—the first appearance of criminal mastermind Kim.

(That's not Kim. That's Killer Croc.)

((The big green dude, I mean. The other guy's the Batman.))

Back when I was writing this series, there were only a fraction of the places reviewing comics that there are today, so it's nice to see something you did still resonates. I was pleased that she was pleased by the Batman's detective work. I always liked this sequence—my pal/partner-in-bat-crime/hero Tim Levins, as usual, took what I thought at the time was a neat idea and absolutely hit it out of the park.

I loved what she had to say about Kim:

I like Kim as a character. He feels like a great throwback to those classical Batman stories where villains were villains for the fun of it and had elaborate schemes set up on around a gag or motiff for no reason other than the “why not?” of it. But, unlike a lot of times when these homages happen, the bizarreness and just curious nature of the crime isn’t lost on the context.
I also like that this comic sets up some interactions we’ll have with Kim in later issues. It’s a fun addition to the canon I kind of wish had been added into the fold of the main universe.
But… meh. I’m sure Kim would’ve turned into a far more sociopathic killer with like… a tragic artist background. Like he was a good traditional artist, but the art schools he applied to were all too invested into the modern movements. And he starts committing murders that represent splash paintings overlayed on the city map.

[Emphasis added.]

I had to laugh when I read that. Because what I think maybe a half dozen people know is that Kim is actually Kelley. As in, Kelley Puckett.

I mean, no, not really. Not literally. But for some reason—I don't remember why—I got the idea to turn Kelley into a supervillain. And one thing led to another, as these things do, and next thing I know, he's [spoilers!] using Killer Croc as a pawn for his crime spree before ultimately fighting (and losing to) the Batman.

I'm not sure how much most of the readers liked Kim—although, clearly, he connected with at least one extraordinarily astute critic—but he sure made me laugh. And my editor let me bring him back a few more times, so that was nice.

Would Kim have eventually turned dark? I really don't see that happening...or at least, I hadn't. Now I kinda love the idea of him trying to out-dark the Joker or Two-Face or Mr. Zsasz or something. I usually see Kelley at SDCC. Maybe I'll see what I can't goad him into doing.

(Oh...and it just occurs to me now...I'm not sure I ever actually told Kelley about any of this. Huh.)

Yes, Tyrone, There Is a Santa Claus

Here, by popular demand, is the original Kelley Puckett script to what I think is one of the truly great comic book short stories ever, "Yes, Tyrone, There Is a Santa Claus." I used to send this to writers to illustrate how much thinking can be put into shot descriptions—what angle to use when and why—and just how much can be done in a mere 10 pages, two of which are splash pages. (Or, as my old boss Denny O'Neil would point out, not actually splashes, but full page panels.) And also because it's just hysterically funny. (We won't mention Kelley's unfortunate penchant for needlessly double-spacing after periods.)

Kevin Nowlan, one of Kelley's four biggest fans, cursed me for sharing this script with him—or, at least, he did once he discovered it was already in the process of being pencilled, as he said he'd have walked across broken glass for the chance to draw it, had he known it existed. (The great Pete Woods did an absolutely fantastic job with the art on this story.)

SUPERMAN CHRISTMAS STORY

Kelley Puckett

PAGE ONE
Panel One
  This story is drawn in an old-school, 1950's-era style.  We begin inside the bedroom of TYRONE, a red-haired, freckle-faced seven year-old straight out of a Norman Rockwell painting.  His room's straight out of a Rockwell painting, too, and we start here with a close shot of his wall, showing baseball pennants (Matt – what's the Metropolis team's name?), baseball cards, a glove, a bat, a mitt.  It's dark, with a faint glow coming from the right.  We're reading the text of the letter Tyrone's writing.
  LETTER TEXT CAPTION:  Dear Daily Planet,
  LETTER TEXT CAPTION:  Is there a Santa Claus?

Panel Two
  Pan over to the right as the glow grows stronger, still coming from off-right.  We reach the edge of Tyrone's desk, on which sits a plate with a half-eaten piece of homemade apple pie, a glass of whole milk next to that.  More stereotypical 1950's boy paraphernalia in the bg.
LETTER TEXT CAPTION:  My friend Billy says there isn't.  He says Santa Claus is for babies.  
LETTER TEXT CAPTION:  He says it's all made up and big kids know better.

Panel Three
  Pan over some more and now we're behind Tyrone.  He's sitting at his desk, writing a letter by lamplight in his pajamas.
  LETTER TEXT CAPTION:  That's not true, is it?  Can reindeer really not fly?  Is nobody checking if I'm good or bad?
  LETTER TEXT CAPTION:  Is it all a big lie?

Panel Four
  Reverse for a front shot of Tyrone writing his letter by pencil, looking at the page, concentrating, his tongue sticking out.  Fresh-faced, a tuft of hair that stands up at the back of his head, he's Opie.
  LETTER TEXT CAPTION:  I'm asking you because my Daddy says everything in your paper is true.  Except the parts about the Mexicans.
  LETTER TEXT CAPTION:  Yours Truly,

Panel Five
  ECU of his signature at the bottom of the letter with his hand in the shot as he finishes it.
  LETTER TEXT:  Tyrone Jenkins III



PAGE TWO
Splash
  Cut to PERRY WHITE's office at the Daily Planet, daytime.  We have Perry, CLARK, JIMMY and LOIS standing next to each other, facing us, the letter held out in front of them.  They're all staring at it, shocked and alarmed at the loss of innocence.  Something must be done!  Everyone's drawn the way they would be in the '50's: Clark in a blue suit, Jimmy with bow tie, Lois in a business dress and Perry in white shirt and loose tie, sleeves rolled up.  I say we give him a cigar.  I have no idea if Perry White ever smoked cigars in the books, but I think it's funnier if he didn't.  Put a large Daily Planet logo/sign/something in the bg somewhere so stupid people know where we are.
  TITLE:  Yes Tyrone, There Is a Santa Claus
  CREDITS:  if you dare



PAGE THREE
Panel One
  CU Perry reaction shot.  Energized, practically shouting, a gleam in his eyes.
  PERRY:  Now this is what I call news!

Panel Two
  From behind Perry with Clark in bg.  Perry right fg, Clark left bg.  Perry starts barking orders to the troops, pointing his left hand index finger out at Clark like a conductor.  Everyone's dead serious.   Clark's on the case.
  PERRY:  Kent!  Gimme an editorial.  I want it wise, I want it funny, I want it heartwarming.
  PERRY:  I want it to touch me, but not in a bad way.  Got it?

Panel Three
  Again behind Perry, this time left bg with Jimmy in right fg, Perry pointing his right hand finger at Jimmy.
  PERRY:  Olsen!  Hit the streets.  I want background on this kid – what he eats, where he sleeps.
  PERRY:  I want to know his next move before he makes it.  Before he thinks it!

Panel Four
We continue over to our right for Perry left, Lois right, standing at the side of his desk.  Perry looks down at his desk and gives Lois a right hand, thumb-up gesture, shaking it.  Lois, hurt, protests.
  PERRY:  Lane!
  PERRY:  Be a peach and get me a cup of coffee, will you sweetheart?
  LOIS:  But...Perry, I'm your number one reporter!

Panel Five
  Lois and Perry left bg, then Jimmy and Clark in right fg (going left to right).  Perry picks up a piece of paper from his desk, engrossed in it and gives Lois a condescending smile.  She's either still standing there, shocked, or storming off-left petulantly.  Jimmy's holding the letter as he and Clark look down at it, walking towards us.
  PERRY:  You sure are, doll-face.  Cream, two sugars.
  JIMMY:  You know who this looks like a job for...
  CLARK:  I think I do, Jimmy.

Panel Six
  CU Clark as he turns away from Jimmy, brings his hand to his glasses and lowers them just enough for us to see his Superman eyes over the top of them, a private smile forming on his face.
  CLARK:  I think I do...



PAGE FOUR
Panel One
  Cut to an est. shot of the Fortress of Solitude.

Panel Two
  Close on a table full of wrapping paper, ribbons, etc. and SUPERMAN's hands as they blur back and forth, wrapping Christmas presents at super-speed.  Don't show us the rest of him yet.

Panel Three
  Shot of a red sleigh covered in Christmas trappings as several presents fly in from off-panel, one after the other in a perfect line, piling up perfectly in the sleigh.

Panel Four
  CU of Superman's chest as he closes a red Santa coat over it.  Only this one has a Superman-like “S” emblem on the front (red S on a white background).

Panel Five
  ECU Superman's face as he looks right at us, explaining the S.
  SUPERMAN:  For “Santa”.


PAGE FIVE
Panel One
  Cut to the big reveal of Superman in full Santa outfit (minus the beard), hovering above Tyrone's house in the night sky on Christmas Eve.  There is, inexplicably, a red Superman cape coming out the back of the outfit, fluttering in the wind.  He's hold the present-laden sleigh off to the side with one hand, looking down at Tyrone's house far below.

Panel Two
  Three small panels across the bottom of the page.  CU Superman, still looking down as he smiles, anticipating.
  SUPERMAN:  Magic time.

Panel Three
  Same angle, but Superman senses something coming up behind him.  His eyes dart to the side, but he doesn't turn his head.

Panel Four
  Same, but now Superman closes his eyes and sighs with a pained, exasperated look.
  SUPERMAN:  What?


PAGE SIX
Panel One
  Two-shot, Superman left with BATMAN right.  Batman's hovering next to Superman, using one of those old astronaut jet-packs (with the big arms sticking out that you rest your elbows on).  It is, of course, painted black with some kind of bat-emblem on it.  He's in his normal 50's era outfit.  He's looking at Superman with barely-concealed disgust, slowly shaking his head.
  BATMAN:  Pathetic.

Panel Two
  Just Batman.
  BATMAN:  For God's sake, man.  Look at yourself.
  BATMAN:  What are you doing out here?

Panel Three
  Focus on Superman, Batman in right fg.  Superman turns towards Batman, holding his hands up and shaking his head as if to say “Ever heard of any of this?”.
  SUPERMAN:  Restoring a child's sense of wonder?  Teaching him that the world can be a magical place?
  BATMAN:  Yeah, well, my parents taught me a different lesson...

Panel Four
  ECU Batman as he gets sidetracked, looking away, going off into his bad place...
  BATMAN:  ...lying in the alley...
  BATMAN:  ...twitching...

Panel Five
  The two of them again as Batman snaps out of it, back to business.  Superman rolls his eyes with a slight sigh.
  BATMAN:  Sorry.  Look...


PAGE SEVEN
Panel One
  Medium Batman, looking at us, making sense, persuasive.
  BATMAN:  ...my point is that you've got to take yourself seriously.  You're the hero!
  BATMAN:  Any calamity, any disaster, any great wrong and people look to the sky.  For you.

Panel Two
  The two of them, Superman left, Batman right.  Superman's facing us, looking down, thinking seriously about what Batman's saying.  Batman's turned toward Superman, making his case.
  BATMAN:  The idea that you could take a night off playing dress-up for some kid?
  BATMAN:  It's patently ridiculous.

Panel Three
  Zoom in for a CU Batman as he turns and looks us directly in the eye for a complete break in the fiction of the story, addressing us, the reader, directly.
  BATMAN:  It's like something out of a comic book.

Panel Four
  Back in the story.  The two of them, focus on Superman as he looks down at himself, frustrated.
  SUPERMAN:  I do feel a little silly in this outfit...
  SUPERMAN:  But that poor kid.  I just wish I could...do something for him.

Panel Five
  CU of the two of them as Batman puts a manly hand on Superman's shoulder and they share an affectionate manly look.  It's not what you're thinking.
  BATMAN:  That just shows what a true hero you are.

Panel Six
  Superman flying up, up and away towards us, looking down at Batman, waving as Batman pumps his fist in the air encouragingly.
  BATMAN:  Now get out there, tiger.  Save the world!
  SUPERMAN:  You're right.  Thanks, Batman.


PAGE EIGHT
Panel One
  Cut to Superman flying off through the night sky, Santa suit off, still holding that sleigh, thinking out loud.  Maybe don't show the sleigh here, only when he thinks about it next panel.
  SUPERMAN:  I suppose I should do something about that whole Middle East thing...

Panel Two
  Sleigh and presents in fg as Superman stops, looking at it, realizing he never gave the kid his presents.
  SUPERMAN:  Wait – the presents.  I should at least leave him his presents...

Panel Three
  Cut to the inside of Tyrone's house, an open window in the bg and Superman sneaking down the dark hallway, a pile of presents in his arms.

Panel Four
  CU Superman as he rounds a corner, looking towards us, his face suddenly bathed in warm light.  What's this?!


PAGE NINE
Panel One
  Big, big shot of the living room with Tyrone, his LITTLE SISTER, MOM and DAD all gathered around Batman in a Santa Claus outfit (but with the Bat-mask and gloves still on).  Include or leave out the beard, whichever looks more ridiculous.  Batman stands there, a roaring fire behind him, handing out presents left and right, laughing jollily.  The place is completely decked out, the very picture of warm holiday cheer, the kids' faces alight with the glow of childlike wonder and glee.
  TYRONE:  Bat-Santa, you're the best!
  LITTLE SISTER:  I love you, Bat-Santa!
  BATSANTA:  Ho ho ho!  Merry Christmas!

Panel Two
  CU Superman as his jaw hits the ground.

Panel Three
  CU  Batman as he spots Superman and flashes him a wink and a Mentos smile.  Gotcha, buddy!


PAGE TEN
Splash
  Okay, this is my favorite shot of the story, but I have an alternate page ten if people deem it inappropriate.  Superman, overcome with fury, plows into Bat-Santa at hyperspeed, a red and blue blur, demolishing the fireplace behind them and surely crushing every bone in Batman's body.  The family looks on, horrified, the children traumatized for life.
  TITLE:  SEASON'S GREETINGS!

***

ho ho ho

Here's hoping you get everything you wanted.

(This is from one of my all-time favorite stories ever ever ever, “Yes, Tyrone, There is a Santa Claus," by Kelley Puckett and Pete Woods. It's in 2007's DC Infinite Holiday Special #1. The ending as originally written was even more...hard-hitting.)