DETECTIVE COMICS #519

"...LIKE A DREADNOUGHT IN THE SKY!"
Plot Gerry Conway | Script: Paul Kupperberg
Pencils: Don Newton | Inks: John Calnan
Letterer: Ben Oda | Colorist: Adrienne Roy | Editor: Len Wein

The Plot: Batman is in Washington, D.C. on a top from the Navy, and watches from atop the Washington Monument as a zeppelin enters D.C. airspace, broadcasting a ransom demand from Colonel Blimp -- ten million dollars for the submarine and warship he has captured, along with their crews. Batman hitches a ride aboard the ship, but finds a detonation device inside. He exits quickly, just before the hydrogen-powered blimp explodes and crashes.

Later, at the Batcave, the Batcomputer has pinpointed the likely location of the captured Naval craft, in the arctic. Batman dispatches Robin in the Batplane to investigate, while Batman drives the Batmobile to New Jersey on a hunch. Sure enough, he finds Blimp's hangar in the woods and sneaks inside, where he learns that the Department of the Navy has agreed to Blimp's demand. Meanwhile, Robin arrives in the arctic and finds the captured ship and sub, landlocked on the ice. He asks the battleship's crew to get the guns in working order, and soon afterward, a zeppelin dispatched by Blimp arrives. Its crew disembarks and is captured by the sailors, while Robin boards the airship and contacts Blimp, telling him his scheme is blown.

Batman takes that cue to show himself. He knocks out Blimp's men and confronts the villain, who gets off a single shot before Batman knocks him out and takes him into custody.

BATMAN #352

"THE KILLER SKY!"
Plot Gerry Conway | Script: Paul Kupperberg
Artist: Don Newton | Inker: John Calnan
Letterer: Ben Oda | Colorist: Carl Gafford | Editor: Dick Giordano

The Plot: In the North Atlantic Ocean, a zeppelin emerges from the fog and uses a tractor beam to steal a military submarine. The next night, Bruce Wayne and Vicki Vale are in attendance at a party abaord a cruise ship when the same zeppelin appears and steals a nearby battleship. While Vicki takes photos of the incident, Bruce ducks away and changes to Batman. He snags the airship with a batline, but the vessel's commander, Colonel Blimp, dispatches his henchmen to deal with the Caped Crusader.

The men attack Batman and eventually knock him off their craft, but they're unaware that he has left a tracking devise lodged in the hull. Later, a battered Batman arrives at the Batcave and explains to Alfred and Dick that he fell through a canopy of trees, using the foliage to break his fall. Despite his injuries, Batman insists on following his tracker, and Robin insists on joining him. Soon, the Batmobile drives through the morning light in the New Jersey countryside, in search of Blimp's blimp. But the Dynamic Duo drive over a landmine, which detonates and totals the Batmobile. After escaping this deathtrap, Batman spots his tracking device attached to a nearby tree. Elsewhere, in a long-abandoned zeppelin hangar, Blimp addresses his men with a speech about having killed Batman and making the world pay for what it has done.

Continuity Notes: In the story's opening pages, Batman visits Jim Gordon's hospital room, where the former commissioner is recovering from the beating he received in last week's DETECTIVE COMICS #518. As Batman lurks outside the window, he sees Barbara Gordon and Jason Bard visit Gordon, followed by the arrival of Commissioner Pauling and Officer McClosky, the man who led the beating. Batman enters the room and scares off the corrupt cops, after which Gordon asks the Masked Manhunter for help in exposing Mayor Hill's corruption.

(On a side-note, I feel like Paul Kupperberg's script this issue could've used a bit more input from editor Dick Giordano. In the span of two pages and eleven panels, Batman thinks to himself, "What have they done to you, old friend?" then greets Gordon verbally with "How are you feeling, old friend?", followed two panels later by Gordon saying, "Jason and I've gone as far as we can on this, old friend..." I get it, Paul. They're old friends.)

DETECTIVE COMICS #516

"PART TWO: 'ACADEMY OF CRIME': FINAL EXAMS!"
Writers Gerry Conway & Paul Kupperberg
Artists: Don Newton & Frank Chiaramonte
Letterer: Ben Oda | Colorist: Adrienne Roy | Editor: Dick Giordano

The Plot: At the Adacemy of Crime, the Headmaster's class practice gunning down Batman. After class is dismissed, "Matches" Malone heads into downtown Hollywood with two of his fellow students. When he spots a fight on a rooftop across the street, Matches ditches the men and changes into Batman. He intervenes in the fight, but when the victim of the attack departs while Batman is distracted, the Caped Crusader leaves since there is no one to press charges against the attacker.

The next morning on a Hollywood backlot, the Headmaster asks Matches to assume the identity of Batman for the day's lesson. Suddenly realizing that the previous night's action was staged and the Headmaster is on to him, Matches enters the designated changing trailer and slips out just before the Academy class opens fire and destroys the trailer. Finding the trailer empty, the Headmaster sends his pupils out into the backlot to find Batman. But the Dark Knight takes the criminals out one-by-one until only the Headmaster and one student, Miles, are left. Batman dispatches Miles and the Headmaster grabs his defeated student's flamethrower. But he fails to kill Batman, and the Caped Crusader captures him.

Continuity Notes: While Batman is in California, a lot transpires back in Gotham City! First up, Rupert Thorne meets with Picture News editor Morton Monroe and demands Vicki Vale's Batman photos. Monroe returns to his office and requests same from Vicki, who blows him off and goes to visit Alfred, giving him two weeks (down from the prior issue's three weeks) to concretely refute her theory.

ADVENTURES OF SUPERMAN #438 & ACTION COMICS #598

“…THE AMAZING BRAINIAC”
Writer: John Byrne | Penciller: Jerry Ordway | Inker: John Beatty
Letterer: Albert T. de Guzman | Colorist: Anthony Tollin | Editor: Michael Carlin

The Plot: While at the circus with Cat, her son Adam, and Jimmy, Clark Kent changes to Superman to stop a rampaging elephant. Soon after, the circus psychic, Brainiac, manifests telekinetic powers and an alternate personality, and begins to wreak havoc. Superman stops him, and he is placed into medical care.

Sub-Plots & Continuity Notes: Adam is frightened of Superman when they cross paths, believing the Man of Steel injured his father during the fight with Concussion a few issues back, but Cat assures the boy that Superman is a friend.

Though his doctors don’t believe him, Brainiac (a.k.a. Milton Fine) says he was possessed by an alien named Vril Dox during his rampage. Earlier in the issue, he explains Vril Dox’s backstory to Cat and Jimmy.

Lois meets with the parents of Combattor, revealed to be named Lawrence Chin, at their son’s funeral and attempts to convince them that Lex Luthor was behind the young man’s death—but while the Chins refuse to believe it, Lawrence’s younger brother agrees with Lois and passes her a note.

AQUAMAN #61, 62, & 63

”THE ARMAGEDDON CONSPIRACY”
Story: David Michelinie (with thanks to Richard “Comic Media News” Burton)
Art: Don Newton and Bob McLeod | Letterer: Milt Snappin
Colorist: Adrienne Roy | Editor: Paul Levitz

The story arc dating back to issue 58 concludes in AQUAMAN 61, as our hero teams up with Batman and Green Lantern to stop the Kobra’s plot to destroy Lisbon, Portugal. Kobra (who was the Fisherman's mysterious master, "King-1") has apparently faced Batman before, and the Caped Crusader speaks often of how deadly he is, even going on a couple of wildly out-of-character rants berating Aquaman for prioritizing the lives of hostages over capturing the villain. But there are no footnotes in the story to indicate where these two crossed paths before, nor do we get any sort of flashback or exposition explaining exactly why Batman feels so strongly about Kobra.

Indeed, this entire story feels a bit off, as if something is missing. It almost seems like a crossover with JUSTICE LEAGUE OF AMERICA, as we're told that a number of developments in the heroes’ hunt for Kobra occurred off-panel and are touched upon only extremely briefly here.

But this is David Michelinie’s final issue of AQUAMAN, so perhaps he knew he was on the way out and felt a need to wrap up his Kobra story before someone else came in to take it over. When he arrived, back in ADVENTURE COMICS #443, it was in the station of mere scripter, and he alternated that duty with a couple other writers. But eventually he returned on a permanent basis with ADVENTURE 450, becoming the longest-running writer in this stretch of issues. But his run has come to an end and writing chores are turned over to the writer of the Mera serial from the past few installments to close out the DEATH OF A PRINCE storyline.

AQUAMAN #57, 58, 59, & 60

”A LIFE FOR A LIFE”
Writer: David Michelinie | Artist: Jim Aparo | Colorist: Liz Berube

His son dead, Aquaman has gone out in search of the boy’s killer, Black Manta — in a rather cavalier fashion. I'm not sure David Michelinie’s script quite fits the gravity of this situation. Aquaman’s child has been murdered in cold blood, but he's going about his business here like any other mission, even tossing out a wisecrack or two along the way. It seems to me that, based on what happened, Aquaman should be functioning like a latter-day Batman at this point, speaking little, dishing out brutal beatings to anyone who gets in his way, and so forth. But instead, for the most part, it's just business as usual. I guess it's possible Michelinie is trying to show us a hero in denial, but if that's what he's going for, he doesn't explain it at all.

Quickly before I move along, I should mention something I didn't note last time. The prior story in ADVENTURE COMICS 452 featured Black Manta dramatically removing his helmet to reveal to Aquaman that he is, in fact, a — black guy! And that, folks, from his own mouth, is the reason he decided to call himself Black Manta. Not because he wears a black costume or, I dunno, has a black heart, but because he himself is black.

Yikes! Weren't we a little more enlightened about stuff like this by 1977?