That’s all too rare these days, and one of the reasons that I love this era so much. That stretch of stories alone is enough to make this era noteworthy, but then you look at some of the finer details: this is a time when the “one-and-done” story was commonplace, so you could pick up most issues of any Batman title and get a strong, self-contained story. Seriously, this is the era that revamped Jason Todd’s origin, which led to “A Death in the Family,” which then led to “Year Three” and “A Lonely Place of Dying” introducing Tim Drake, the Best Robin Ever™️. Barr, Jim Aparo, Alan Grant, Norm Breyfogle, Alan Davis. This is the point in time that I consider to be the greatest era of Batman comics to ever be printed, and if you look at the credits for some of the collections linked below, I think you’ll begin to understand why: Jim Starlin, Mike W. But what about the times in Batman’s history where no matter which title you picked up off the newsstands, you’re almost guaranteed to get some quality Batman content? The times when different creative teams worked on different books to different ends, but it all resulted in amazing Batman comics across the board, month in and month out? Here is the second entry in a series detailing these great eras in Batman’s publication history.Īhh yes, Batman comics just after Crisis on Infinite Earths wrapped. ![]() When discussing great Batman comics, we often focus on particular storylines or creative teams.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |