THE UNTOLD LEGEND OF THE BATMAN

In 1980, concurrent with the end of his run on BATMAN, Len Wein wrote a limited series called THE UNTOLD LEGEND OF THE BATMAN. Its framing sequence was a mystery set in the ongoing continuity, but the true purpose of the series was to sort through the then-nearly fifty years of Batman's history and hammer all the bits and pieces into a single solidified backstory.

At the end of 2017, with some time to kill (ahh, those were the days), I decided to read UNTOLD LEGEND and write about it here. And since it fits in perfectly with the "Batman in the Seventies" retrospective I've been running here all year, I figure now is a good time to "reprint" the post for your enjoyment:

THE UNTOLD LEGEND OF THE BATMAN #1 - #3

Give it a whirl (and while doing so, remember that it was written more than a year before I even decided to read the full Wein run over these past months), and next week we'll look at one more "reprint" post before jumping back into the ongoing Batman saga.

BATMAN #326 & #327

"THIS WAY LIES MADNESS!" | "ASYLUM SINISTER!"
Writer: Len Wein | Artists: Irv Novick & Frank McLaughlin | Colorist: Adrienne Roy
Letterers: John Costanza (issue 326) & Ben Oda (issue 327) | Editor: Paul Levitz

Len Wein's run on BATMAN comes to an end with these two issues, and while not as strong as last week's Catwoman/Cat-Man saga, the story here isn't too bad. We open with Selina leaving Gotham City. After everyone immediately thought the worst of her when the Egyptian cat exhibit was stolen, she's decided she can't live (or love) among people who inherently don't trust her. After she departs, an angst-ridden Batman goes on patrol and stops a robbery, but the suspect escapes. However, Batman recognizes him as "Mad Dog" Markham, a criminal who should be incarcerated at Arkham Asylum. Batman visits Police Headquarters and learns of Commissioner Gordon's encounter last issue with the apparent work of "Kid Gloves" McConnell, another Arkham inmate.

Deciding that something is rotten in the asylum, Batman goes undercover as a crook named "Shank" Taylor and gets himself committed. Inside, he learns that the asylum is now being run by his old enemy Professor Milo. Batman eventually gets the better of Milo, and the sinister doctor is driven mad himself thanks to exposure to a special chemical he had prepared for the Caped Crusader.

Wein must be a fan of Milo; this is the second time we've seen him use the character (the first was in "Moon of the Wolf", and Milo here is scarred down the side of his face from his encounter with the werewolf he created in that tale). Considering Wein was born in 1948 and Milo debuted in 1957's DETECTIVE COMICS #247, that's not a surprise -- he probably had some childhood memories attached to that issue. Who knows; maybe it was his first Batman comic!

BATMAN #323 & #324

"SHADOW OF THE CAT!" | "THE CAT WHO WOULD BE KING!"
Writer: Len Wein | Artists: Irv Novick & Bob Smith
Colorist: Glynis Wein | Letterer: Ben Oda | Editor: Paul Levitz

We're entering the final stretch of Len Wein's run on BATMAN today. These two issues, plus the two we'll look at next week, mark his final four installment of the Caped Crusader's monthly adventures. And, at least based on these two, it seems like he wants to go out on a high note. "Shadow of the Cat!" and "The Cat Who Would be King!" are some of Wein's strongest stories out of his entire two-year run on the title, plus they resolve the ongoing sub-plot of Selina Kyle's headaches.

As we learned last week, the headaches were actually the final stage of some exotic virus Selina contracted during her days as Catwoman. She found out that the ancient Egyptians had cured the disease centuries ago, and not long after, a figure dressed as a cat was seen stealing some Egyptian artifacts from Gotham's Riverside Museum. This story opens later that same night, as Batman arrives at Selina's apartment to arrest her for the crime. But Selina professes her innocence and escapes. The next day, she shows up at the Wayne Foundation in costume as Catwoman to make her case to Bruce, but when he suggests she turn herself in and let the law sort things out, she runs again. Eventually Catwoman gets a lead on the stolen artifacts, while Batman shadows her. The pair winds up in some caverns that were once used by bootleggers to smuggle liquor into Gotham. Batman finally believes Catwoman is innocent, but before the two can make amends, they're captured by the villainous Cat-Man.

BATMAN #319, #321, AND #322

Writer: Len Wein | Colorist: Glynis Wein | Letterer: Ben Oda
Editor: Paul Levitz

"NEVER GIVE UP THE GHOST!"
Artists: Irv Novick & Bob Smith

Gentleman Ghost's turn against Batman in issue 310 must have been well received by fandom -- or at least, Len Wein must have enjoyed writing it -- because here we are nine months later with a rematch between the two. This time, Batman thwarts the Ghost and his gang from stealing some diamonds in the issue's opening pages, and then when they try again the next night, they capture the Caped Crusader before departing to steal some jewels from a party at Wayne Manor. But Batman gets free, heads home, and stops the Ghost yet again -- though the villain escapes in the end.

It's a little weird to see Wein returning to the exact same well as the last time he used Gentleman Ghost, sending him yet again to Wayne Manor. But perhaps there's some reason for this. Maybe Wein wanted to establish some connection between the Ghost and Bruce Wayne's ancestral home. But this is Wein's final outing with Gentleman Ghost, so we'll never know. (Another unsolved mystery is the fact that Batman explicitly notes in the opening scene that the Ghost is trying to steal "crude industrial diamonds" rather than some nicer jewelry. It seems unlikely Wein would've mentioned this unless he intended it to go someplace.)

In sub-plot land, Bruce talks about how happy he is to be back at Wayne Manor for this party, and considers that he may be seeing a lot more of the place in the near future. I'm pretty sure I've read that it was actually Gerry Conway, in his run that followed Wein's, who actually moved Batman back to his mansion, but I guess Wein is planting the seeds for that move here. And besides the potential move for our hero, we also find that his secret identity may be in jeopardy, as, at the party, Lucius Fox and Selina Kyle make up and then begin discussing Bruce's frequent disappearances.

BATMAN #317 & #318

"THE 1,001 CLUE CAPER or WHY DID THE RIDDLER CROSS THE ROAD?"
"MY CITY BURNS AT BOTH ENDS -- IT WILL NOT LAST THE NIGHT!"
Writer: Len Wein | Artists: Irv Novick & Frank McLaughlin
Colorist: Glynis Wein | Letterer: Ben Oda | Editor: Julius Schwartz

BATMAN 317 picks up where issue 316 ended, with Batman and Robin wrapping up the Crazy Quilt caper at Gotham Police Headquarters. Their next case begins immediately as Batman receives a parcel care of the police -- a book of riddles from the Riddler. The Dynamic Duo head home so Bruce Wayne can tend to the day-to-day operations of his company, while Robin does some investigate legwork. Eventually the heroes figure out the Riddler has gotten into the lucrative game of selling guns to foreign powers, and shut him down at Gotham's waterfront.

Along the way, Bruce makes up (and makes out) with Selina Kyle following their argument a couple issues back, while Lucius Fox continues to worry over his upcoming meeting with Bruce's reclusive rival, Gregorian Falstaff. And then , in a glorious half-page panel to close out the issue, Lucius comes face-to-face with the gluttonous Falstaff.

I'm not sure what it is about this one that speaks to me... maybe it's as simple as the inclusion of the Riddler, who has long been one of my favorite Batman villains, and who has gotten pretty short shrift in these 1970s stories we've been examining. This is by no means the Riddler's first appearance of the decade, but it is the first time we've looked at a comic featuring him.

BATMAN #315 & #316

"DANGER ON THE WING!" | "COLOR ME DEADLY!"
Writer: Len Wein | Artists: Irv Novick & Frank McLaughlin
Colorist: Glynis Wein | Letterer: Ben Oda | Editor: Paul Levitz

BATMAN 315 continues Len Wein's string of sub-par one-off adventures, padded by slow-moving sub-plots. This time, Batman goes up against Kite-Man, stopping the obscure villain from stealing the final day's payroll of Trans-Atlantic Airways, an airline moving out of Gotham City. It's a pretty lame story that would fit in nicely among Batman's TV episodes, but it really doesn't fit the Darknight Detective. Plus, the plot is similar in some ways to the Calendar Man story Wein just wrote a couple months earlier.

The sub-plots do a bit to elevate this one, but not by much. We get a brief appearance from Selina Kyle, who confronts Bruce Wayne about his digging up dirt on her. She's none too pleased about it, and throws a drink in Bruce's face, then leaves their lunch date in a huff. And then there's Lucius Fox, who thinks a bit about his son, Tim, before he's accosted by Karlyle Krugerrand, right-hand man to Gregorian Falstaff. It seems Falstaff wants a meeting with Lucius, and seeing an opportunity to learn a bit about his boss's rival, Lucius agrees to this proposal.

...Then he heads over to Wayne Foundation and nearly tells Bruce about the upcoming meeting, but changes his mind at the last minute and decides to keep his boss in the dark -- I assume to give him plausible deniability, though it comes across here as Lucius simply making a dumb decision, as he did last issue when he blabbed to Selina about the dossier he had compiled on her. I can see that Wein is trying to lace his stories with soap opera angst and intrigue, but the problem is that for whatever reason, he's not very good at it!

BATMAN #312 - 314

"A CAPER A DAY KEEPS THE BATMAN AT BAY!"
Writer: Len Wein | Artists: Walt Simonson & Dick Giordano
Colorist: Glynis Wein | Letterer: Ben Oda | Editor: Paul Levitz

Beginning this month, longtime editor Julius Schwartz is off BATMAN, replaced by Paul Levitz. I once read, years ago, that Levitz came in and upended Len Wein's plan for the series, demanding that every issue feature a costumed villain, and that the stories be mostly self-contained. I'm not certain of the truth of this rumor, though. Wein certainly will go on to use super-villains pretty much exclusively for the remainder of his run, but he had already been doing it from the moment he started! The only exception was his inaugural installment, issue 307, which featured a serial killer. But since then, it's been Mr. Freeze, Blockbuster, and Gentleman Ghost -- and prior to that, in his two-part DETECTIVE COMICS story, he introduced a new Clayface!

Plus, the storylines will not be self-contained going forward. We have a few two-parters on the way, and Marvel-style sub-plots will continue to be the norm throughout the entire run. So I really don't know where that rumor came from -- I honestly can't recall where I read it, since it was probably ten years ago at this point -- but I felt it was worth mentioning for posterity.

Now, on with the stories at hand. We begin with one that featured in THE GREATEST BATMAN STORIES EVER TOLD, though I've never quite been certain why. It follows a week in Batman's life as he battles the nefarious Calendar Man, failing to thwart him at every turn until Sunday rolls around, when the Caped Crusader finally gets his act together and brings the bad guy to justice. I feel like there are much stronger Wein-written stories that could've made their way into GREATEST STORIES, so the only reason I can imagine for its inclusion over anything else is that it features artwork from Walter Simonson -- back to form following those two horrid issues he contributed to Steve Englehart's DETECTIVE run a couple years earlier.

BATMAN #309 & #310

"HAVE YOURSELF A DEADLY LITTLE CHRISTMAS!"
"THE GHOST WHO HAUNTED BATMAN"
Writer: Len Wein
Artists (issue 309): John Calnan & Frank McLaughlin
Artists (issue 310): Irv Novick & Dick Giordano
Colorist: Glynis Wein | Letterer: Ben Oda | Editor: Julius Schwartz

Picking up from the final scene of the prior issue, BATMAN #311 opens with the Blockbuster, Batman's Hulk-like villain, beating up some purse snatchers and then departing to return the purse to its owner. Meanwhile, Batman and Commissioner Gordon exchange Christmas gifts. But when they find that a desk sergeant is on the phone with a girl attempting suicide-by-sleeping pills, Batman departs in a hurry to find her. It turns out she's the victim of the purse-snatch, and Blockbuster finds her before Batman. The girl faints from the bottle of pills, Blockbuster takes her away to find help.

Naturally, this leads to Batman and Blockbuster crossing paths a few times, and while Blockbuster wants to help the girl, he refuses to let Batman take her to a hospital, since -- following his "death" at STAR Labs last issue -- he believes hospitals hurt people. Nonetheless, when their chase takes them out onto a frozen lake that cracks apart, Blockbuster throws the girl into Batman's arms as he sinks into the water of Gotham Bay. Batman gets the girl to an ambulance and her life is saved.

This is the kind of story where you honestly don't know which way it will go. We're so deep into the Bronze Age at this point, that there's just as good a chance the girl could die as there is that Batman could save her -- which gives the story an air of suspense that might otherwise have been missing were it published a few years earlier. There are no sub-plots in this one, either -- it's wall-to-wall Batman vs. Blockbuster action, which is always a nice change of pace in any sub-plot heavy series. Though I sometimes complain that such issues are "filler" without any sub-plots, in this case, for whatever reason, it doesn't feel that way.

BATMAN #307 & #308

"DARK MESSENGER OF MERCY!"
"THERE'LL BE A COLD TIME IN THE OLD TOWN TONIGHT!"
Writer: Len Wein | Artists: John Calnan & Dick Giordano
Colorist: Glynis Wein | Letterer: Ben Oda | Editor: Julius Schwartz

As mentioned a couple weeks back, from this point forward, we'll be seeing a lot of Len Wein. He wrote BATMAN for nearly two years, covering issues 307 through 327. His run begins inauspiciously, though, with "Dark Messenger of Mercy". It seems (as glimpsed briefly in Wein's framing sequence to DETECTIVE COMICS #477), someone is wandering around, murdering Gotham City's vagrants and leaving gold coins to cover their closed eyes. Batman of course gets involved, visits Commissioner Gordon, meets a homeless community living beneath Gotham, and ultimately brings the killer to justice.

Wein throws in a twist and has Batman use some legitimate detective work to solve the case, so those are a couple of pluses in this tale's favor -- but overall, it's just kind of boring. It feels like a sub-par done-in-one from the early part of the seventies; something Denny O'Neil or Frank Robbins would've produced with the help of Bob Brown or Irv Novick. In fact, the only thing that helps this issue to not feel like such a one-off is Wein's introduction of a sub-plot. Specifically, Bruce Wayne learns in the story's opening pages that reclusive billionaire Gregorian Falstaff has bought Gotham's Ambassador Hotel and moved himself into the upper floors. The Falstaff plot will sporadically carry on (and on, and on) for the entirety of Wein's run, and not even be resolved until his successor, Marv Wolfman, takes over writing chores on BATMAN!

Bruce learns about Falstaff from his newly introduced right-hand man, a Wayne Foundation executive named Lucius Fox. Fox, here in his very first appearance, will prove to be Wein's most enduring contribution to Batman's mythos, appearing in several movie and TV spinoffs beginning somewhere around the early nineties with BATMAN: THE ANIMATED SERIES. He was, of course, famously portrayed by Morgan Freeman in Christopher Nolan's "Dark Knight" trilogy in the mid-00s.

DETECTIVE COMICS #478 & #479

Hey, everybody -- remember Len Wein? He co-wrote "The House That Haunted Batman" in 1971's DETECTIVE COMICS #408, then returned a few years later for 1975's "Bat-Murderer" storyline in DETECTIVE COMICS 444 - 448. You may also recall that he provided a coda to Steve Englehart's DETECTIVE run in issue 477, which I mentioned last week.

Well, he's back -- and we're going to see a lot more of him for the rest of this retrospective. Up until this point, my focus was on the "greatest hits" of the 1970s Batman -- the evergreen stuff that's been reprinted in various formats over the years by DC. But now we're segueing into a proper "run" on the character by a single writer. See, a few years back, DC released TALES OF THE BATMAN: LEN WEIN, a book collecting all of Wein's work on the Caped Crusader -- and that includes his term as the regular, ongoing writer of BATMAN in the late seventies. It seems that, following the success of Englehart's "Marvelized" DETECTIVE COMICS, DC must have decided to keep the approach going -- and Wein, fresh off a stint writing AMAZING SPIDER-MAN, among other titles, at Marvel, was tapped for the job.

So Wein comes aboard DETECTIVE immediately after Englehart's run for a three-issue stint in mid-1978 (one of which is a mere framing sequence as mentioned last week), then he will take of the reins of BATMAN for a full two years beginning with the January 1979 installment, which we'll get to in a couple weeks. And while Wein was the writer of BATMAN an a Marvel-ish fashion, stalwart Denny O'Neil (for the most part) continued a more traditional "business as usual" approach on DETECTIVE during the same span. So as we read Wein's run over the next few months, we'll also check in periodically with O'Neil as well.

DETECTIVE COMICS #444 - 448

"BAT-MURDERER" | "BREAK-IN AT THE BIG HOUSE" | "SLAUGHTER IN SILVER"
"ENTER: THE CREEPER" | "BEDLAM BENEATH THE BIG TOP!"
Writer: Len Wein
Art: Jim Aparo (Chapters 1 - 3); Ernie Chua & Dick Giordano (Chapters 4 & 5)
Editor: Julius Schwartz

I believe DC's first intentional attempt to "Marvelize" their line came in 1977, when Steve Englehart was hired to bring his AVENGERS-honed sensibilities to the pages of JUSTICE LEAGUE OF AMERICA (and as part of that deal, he also scripted several issues of DETECTIVE COMICS, which we'll begin to examine here in just a couple weeks). But in 1975, an earlier, "under the radar" Marvelization occurred. It only lasted a few months, but it's clear that DETECTIVE COMICS' new writer, Len Wein, was intent on bringing some of that Marvel flavor to DC's Caped Crusader.

The opening chapter of this five-part serial sees Batman working to thwart a crime ring whose leader turns out to be Talia. Batman, who happens to be holding a gun he lifted from the Daughter of the Demon, shoots her dead. The police attempt to arrest him, but the Masked Manhunter flees to clear his name. Chapter two finds our hero breaking into Gotham's new state-of-the-art prison to question an incarcerated Ra's al Ghul about the incident. But after al Ghul boasts that he did indeed engineer Tali'a death and Batman's frame-up, the Demon's Head kills himself, framing Batman for a second murder and sending the Caped Crusader on the lam once more.

Aside from the fact that it seems incredibly odd that an international terrorist like Ra's al Ghul is being held in jail in Gotham City of all places, these opening chapters are pretty good. Commissioner Gordon goes a bit overboard in accusing Batman of murder and not even considering, even after all their years of working together, than he could be innocent -- and Batman flies off the handle in the same scene, grabbing Gordon's lapels like a madman and raving about his innocence.

BATMAN #251 & #255

"THE JOKER'S FIVE-WAY REVENGE!"
Story: Denny O'Neil | Art: Neal Adams | Editor: Julius Schwartz

Note: Screenshots below come from BATMAN ILLUSTRATED BY NEAL ADAMS VOLUME 2 and are not representative of these stories' original colors (the covers are presented as published, however).

Neal Adams' brief time with Batman comes to an end in these two tales, and the first teams him with his most frequent collaborator, Denny O'Neil, for the return of Batman's best-known villain. As discussed when we looked at "Half An Evil" a while back, my understanding that in the late sixties, after the Batman TV show ended and DC wanted to reestablish the character as something closer to his puply roots, there was a conscious decision made to retire the classic rogues gallery for a time, to allow the campy screen versions to fade from memory before reintroducing them. Now, I have no idea whether this is true, but in any case the Joker returns here four or so years after his last appearance.

I've said before that the Joker isn't my favorite Batman villain -- but, nonetheless, for my money "The Joker's Five-Way Revenge!" is pretty much the quintessential Batman story, and probably one of the few I might show somebody to introduce them to what exactly I believe Batman is all about. To wit: we have, as noted above, the best-known member of Batman's rogues gallery. We have Commissioner Gordon summoning Batman to the scene of a murder for investigative assistance. We have Batman setting out to track down the Joker, using his detective skills to do so. We have him demonstrating his "ultra-competence" as he easily catches up with a hoodlum who believes he's given Batman the slip. Yet we also have a fallible Batman, who's clubbed from behind by that same hood after turning his back on him. But most importantly, we have a Batman who refuses to give up; who, when thrown into a death trap by the Joker, uses his wits and athleticism to find a way out.

DETECTIVE COMICS #408 & #410

"THE HOUSE THAT HAUNTED BATMAN"
Story by: Len Wein & Marv Wolfman | Art by: Neal Adams & Dick Giordano

Note: Screenshots below come from BATMAN ILLUSTRATED BY NEAL ADAMS VOLUME 2 and are not representative of these stories' original colors (the covers are presented as published, however).

Len Wein was twenty years old in early 1971. Marv Wolfman was twenty-four. And somehow they were paired with one of the hottest artists in comics at the time, Neal Adams, to draw one of their very first published stories. (for comparison's sake, Denny O'Neil was thirty-one at this point and Frank Robbins was fifty-three -- while Adams was twenty-nine). But what, you ask, do anyone's ages have to do with the story? Nothing; I just thought it was interesting that these two young whippersnappers worked with Neal Adams just as they were starting their careers.

"The House That Haunted Batman" features our first guest appearance from Robin since he departed the series in the initial issue we examined, BATMAN 217's "One Bullet Too Many" -- which was published over a year prior to DETECTIVE 408. Of course, this isn't the first time the readers of the era had seen the Teen Wonder since then -- he was a regular feature in backup stories in BATMAN, and he had popped by to team up with his mentor in a few stories we didn't look at. But for us, here and now, we haven't seen Dick Grayson in several issues, and we haven't seen Robin at all.

Funnily, the setup for this story will be reused by Denny O'Neil in just a few more months for the start of his Ra's al Ghul saga. Specifically, both this tale and O'Neil's begin with Robin kidnapped from Hudson University and Batman searching for him. But the similarities end with that single sentence. "The House that Haunted Batman" picks up en media res, with Robin already missing and Batman having located the place where he's being held -- while the upcoming "Daughter of the Demon" will show both the kidnapping and Batman's search for his ward.

WONDER WOMAN #16

“BIRD OF PARADISE/BIRD OF PREY!”
Story & Layouts: George Pérez | Script: Len Wein | Finishes: Bob Smith
Letterer: John Costanza | Colorist: Carl Gafford | Editor: Karen Berger

The Plot: Wonder Woman saves the ferris wheel that Silver Swan damaged, while Silver Swan flies into the sky and, at the order of Henry Armbruster, who is secretly feeding her orders from a hidden command center, lets loose a tremendous sonic scream which floors everyone in the area. The Swan then demands that all present at the Wonder Woman fair turn over their valuables as penance for worshiping a false icon of feminism.

After everything is turned in, Wonder Woman flies the valuable up to Silver Swan—but Maxine spots Solomon Buchman taking aim at the Swan with a crossbow and shouts a warning to her friend. Diana deflects the bolt, and when Silver Swan retaliates against Buchman, the princess strikes, pushing Silver Swan away from Boston. The Swan drops the two bags Diana had handed her, which—unbeknownst to all—actually contain computer chips that Armbruster was after.

Wonder Woman fights and defeats Silver Swan, but they’re separated. Diana returns to Boston, while Armbruster sends a chopper for Silver Swan. Later, Diana discusses her feelings toward Superman with Vanessa, who urges her to seek out the Man of the Steel. Myndi Mayer gets in touch with Clark Kent, who helps arrange a date between the would-be super-couple.

WONDER WOMAN #14 & #15

“FOR THE GLORY OF GAEA” | "SWAN SONG"
Plotter/Layouts: George Pérez | Script: Len Wein | Inker: Bruce D. Patterson
Letterer: John Costanza | Colorist: Carl Gafford | Editor: Karen Berger

The Plot: With the Millennium crisis at an end, Wonder Woman returns beneath Paradise Island to check on her mother, and finds Heracles bearing the entire island on his shoulders as Hippolyte lays beside him. Diana flies Hippolyte to the surface, then returns to Heracles. Zeus appears and declares the demigod’s punishment at an end, and the goddess Gaia takes over supporting the island.

In the days that follow, peace returns to Paradise Island. Hippolyte recovers from her injuries, and the Amazons destroy their weaponry, declaring they will practice peace from now on. Soon Heracles is accepted back onto Olympus by Zeus, while Hippolyte tells Diana to return to Man’s World as an ambassador and preach the ways of the Amazons.

Diana says her farewells and returns to Boston, where she reunites with Julia and Vanessa Kapatelis, and takes up residence in their home once more.

Sub-Plots & Continuity Notes: Heracles apologizes to the Amazons for his treatment of them, and they accept. Later, he shares a kiss with Hippolyte before returning to Olympus.

While going through the belongings of Steve’s late father, Steve and Etta declare their love for one another.

WONDER WOMAN #12 & #13

“ECHOES OF THE PAST” | “DEMONPLAGUE”
Plot & Layouts: George Pérez | Script: Len Wein | Finishes: Bruce D. Patterson
Letters: John Costanza | Colors: Carl Gafford | Editor: Karen Berger

The Plot: (Issue 12) As Hippolyte descends into the caverns beneath Paradise Island, her daughter comes face-to-face with the woman for whom she was named, a redheaded American called Diana. Diana begins to explain the strange, intertwined history she shares with the princess, while elsewhere, Pan plots against Hippolyte, setting multiple obstacles against her. But, led by the vulture which brought her into the caves, Hippolyte proceeds on her way.

Soon, after Diana finishes her story to her namesake and departs, Pan appears and sends Wonder Woman off to the home of the Green Lanterns to aid them against the extraterrestrial Manhunters. Still on Earth, Hippolyte continues her trek and finds herself in the company of a massive Heracles, apparently changed to stone by some unknown force.

(Issue 13) Hippolyte continues her trek and comes across the form of Heracles, trapped as a living statue. Soon after, she finds the horned skull of Pan. Zeus and the other gods, observing Hippolyte’s quest, realize the Pan who has recently counseled Zeus is an imposter. Hermes fetches Diana from the Green Lantern citadel in California, returning her beneath Paradise Island to team up with her mother. The two battle several monsters and free Heracles, but countless demons escape as well.

Diana follows and traps the creatures within the amulet of Harmonia, which is then pulled—along with Diana—to Ares, who takes the amulet and disappears. Immediately after, Hermes appears and tasks Diana with one final challenge: to return to Man’s World and avenge his son, Pan, by finding and killing the Manhunter who took the horned god’s life and impersonated him.

WONDER WOMAN #10 & #11

“PARADISE LOST!” | “FIRE AND TORMENT”
Plot & Pencils: George Pérez | Script: Len Wein | Inks: Bruce D. Patterson
Letterer: John Costanza | Colorist: Carl Gafford | Editor: Karen Berger

The Plot: (Issue 10) Following Princess Diana’s defeat of Ares, Zeus has decided to reward the Amazons by making love to them, beginning with Diana. He summons her but she rebuffs him, and Hera pulls Zeus back to Olympus. Soon, Diana is summoned to appear before the gods, where she’s told by Zeus that she must complete a series of tasks beneath Paradise Island. Upon finishing the tasks, she will find Zeus’s “greatest treasure” and return it to him, earning the Amazons’ freedom—but if she fails, Zeus declares the Amazons will be lost.

Soon, Diana enters the vault beneath Paradise Island, which the Amazons have guarded for centuries. Immediately, she battles a demon called Cottus and kills it. But no sooner is Cottus defeated, than Diana finds herself confronted by a hydra.

(Issue 11) As Zeus and the gods watch, Diana battles and defeats the hydra, losing all her weapons, save her lasso, in the process. While Diana lays passed out from the ordeal, on Paradise Island a vulture appears to Hippolyte, sending her racing toward the vault. Meanwhile, Diana wakes up and continues her mission, coming face-to-face with a creature called Echidna, which uses her fear against her.

The Amazon warrior Philippus fights Hippolyte to keep her from interfering in Diana’s mission, but Hippolyte defeats her and proceeds into the vault. Below, Diana beats Echidna as well, and plummets into an illusory ocean which quickly drains. As she finds herself looking at a vintage American fighter jet, Diana is greeted by the a woman dressed in her armor who claims to be her namesake.

WONDER WOMAN #9

“BLOOD OF THE CHEETAH”
Plot & Layouts: George Pérez | Script: Len Wein | Finishes: Bruce D. Patterson
Letterer: John Costanza | Colorist: Tatjana Wood | Editor: Karen Barger
Thanks to: Bob Smith

The Plot: Chuma performs a ceremony on Barbara Minerva. The next day, Diana and Myndi Mayer visit Doctor Minerva at her hotel, where the doctor unwittingly touches Diana’s lasso and reveals that she lied about possessing a second Girdle of Gaia. Diana leaves, horrified that a fellow woman would deceive her.

Later, Minerva transforms into the Cheetah. As Diana sleeps beneath a tree on Julia Kapatelis’s property, the Cheetah attacks. Cheetah seem to have the upper hand until Julia arrives with a hunting rifle and shoots her, knocking into the lake. Diana searches for her beneath the water, but there is no body to be found.

Diana decides the time has come to leave Man’s World and return to Paradise Island. She bids Julia and Vanessa farewell, and departs.

Sub-Plots & Continuity Notes: We’re reminded again about the “Wonder Woman Tour” which has seen Diana traveling the world as a goodwill ambassador… which of course begs the question, if she’s making such highly publicized travels, why has Clark Kent had such a difficult time tracking her down? If Superman wants a date with Wonder Woman, all he has to do is turn on the TV to find out where she is, then fly there!

The Cheetah apparently gets her power from the tree she brought to the United States, which narration seems to imply is actually some ancient god in Earthly form. Also, Chuma refers to Cheetah as the last of her kind, but what that kind is goes unrevealed.

WONDER WOMAN #8

“TIME PASSAGES”
Plotter/Penciler: George Pérez | Scripters: George Pérez & Len Wein
Inker: Bruce Patterson | Letterers: John Costanza & L.S. MacIntosh
Colorist: Tatjana Wood | Editor: Karen Barger

The Plot: Princess Diana’s recent activities are recapped by Julia Kapatelis, Etta Candy, Vanessa Kapatelis, and Myndi Mayer via a journal entry, letter to Steve Trevor, diary entry, and letter to Julia, respectively.

Sub-Plots & Continuity Notes: As recapped in the various letters and journals: Following the Ares Affair, Diana spoke at the United Nations, then retired to Julia’s summer home to mull over her recent actions in man’s world, but eventually went back into action against G. Gordon Godfrey. Afterward, she allowed the U.S. military to test her power levels, then went on a publicity tour arranged by Mindi, which included speaking at Vanessa’s school, meeting the president, and going on The Tonight Show.

I don’t recall it was made explicitly clear last issue (though it’s possible I’m remembering since I set Wonder Woman aside to read a dozen or so Superman issues), but we’re told here that Hippolyte has given Diana a limited amount of time in man’s world before she must return to Themyscira.

LEGENDS #5 & #6

“LET SLIP THE DOGS OF WAR!” | “FINALE”
Plotter: John Ostrander | Scripter: Len Wein
Penciler: John Byrne | Inker: Karl Kesel w/Dennis Janke (issue 6 assist)
Letterer: Steve Haynie | Colorist: Tom Ziuko | Editor: Mike Gold

The Plot: (Issue 5) Billy Batson sees a girl he had befriended hit by debris from a riot and finally changes back into Captain Marvel. Moments later, he’s spirited away by Doctor Fate. In Star City, Fate grabs Black Canary. He plucks Guy Gardner from Los Angeles, then the Blue Beetle from Chicago. In Gotham City, Fate grabs Batman. In New York, Captain Boomerang is captured by a gang of Gordon Godfrey’s rabid followers, and Fate takes Flash and Changeling before they can pursue. Finally, Doctor Fate appears in the White House as Superman confers with President Reagan and Vice President Bush. He grabs the Man of Steel as well, and they depart.

Elsewhere, G. Gordon Godfrey stirs up his mob in Metropolis and shows off the captive Captain Boomerang on TV. Amanda Waller orders Task Force X to either rescue or kill Boomerang before he blows the cover off their team. In Washington, D.C., Godfrey continues to speak to his followers, until Doctor Fate arrives with his team. On Apokolips, Darkseid prepares for the final act of his plan, while in Gotham City, a determined Robin leaves his hospital room.

(Issue 5) On Apokolips, Darkseid and the Phantom Stranger continue their chat, while on Earth the heroes battle Godfrey’s war dogs, soon augmented by a troop of parademons from Apokolips. Godfrey snags Doctor Fate’s helmet and makes a run for it, while not far away, the Suicide Squad rescues Captain Boomerang. Meanwhile Wonder Woman appears to help Guy Gardner against a war dog, while human agents of Godfrey storm the White House and attempt to assassinate the president — but J’onn J’onzz impersonates the commander-in-chief to thwart the intruders.

Eventually all the otherworldly threats are eliminated and the heroes are left to face Godfrey’s foaming mob. But the arrival of a number of children, spared from Godfrey’s power of suggestion, causes the adults’ frenzy to waver and wear off. Desperate, Godfrey dons Doctor Fate’s helmet, hoping to use its power to save himself, but it instead overwhelms him, reducing him to a gibbering mess.

In the aftermath, the gathered heroes decide to re-form the Justice League, while on Apokolips, Darkseid vows that his war against Earth’s legends is not over.