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Batman: The Golden Age #Omnibus #2
Batman: The Golden Age Omnibus Vol. 2
This second BATMAN: THE GOLDEN AGE OMNIBUS includes dozens of stories from the early 1940s in which the Dynamic Duo battle evildoers including the Penguin, the Joker, Two-Face, the Scarecrow and many more. These tales were written and illustrated by such luminaries as Bob Kane, Bill Finger, Gardner Fox, Jerry Robinson and more!
Collects DETECTIVE COMICS #57-74, BATMAN #8-15 and WORLD'S FINEST COMICS #4-9.
Collects DETECTIVE COMICS #57-74, BATMAN #8-15 and WORLD'S FINEST COMICS #4-9.
768 pages, Hardcover
First published April 7, 1943
6 people are currently reading
144 people want to read
About the author
Bill Finger
644 books105 followersWilliam "Bill" Finger was an American comic strip and comic book writer best known as the uncredited co-creator, with Bob Kane, of the DC Comics character Batman, as well as the co-architect of the series' development. In later years, Kane acknowledged Finger as "a contributing force" in the character's creation. Comics historian Ron Goulart, in Comic Book Encyclopedia, refers to Batman as the "creation of artist Bob Kane and writer Bill Finger", and a DC Comics press release in 2007 about colleague Jerry Robinson states that in 1939, "Kane, along with writer Bill Finger, had just created Batman for [DC predecessor] National Comics".
Film and television credits include scripting The Green Slime (1969), Track of the Moon Beast (1976), and three episodes of 77 Sunset Strip.
-Wikipedia
Film and television credits include scripting The Green Slime (1969), Track of the Moon Beast (1976), and three episodes of 77 Sunset Strip.
-Wikipedia
Ratings & Reviews
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Displaying 1 - 6 of 6 reviews
September 19, 2022
Nice collection of these Golden age classics. Nice to see the beginnings of some much of the Batman mythos. Nice read. Recommended
February 13, 2025
Batman Takes Shape: A Review of The Golden Age Batman Omnibus, Volume 2
Americans love reinvention. We admire men who transform themselves, who impose their will upon the world and emerge stronger, sharper, and more refined. This, perhaps, is why Batman—a character whose very existence is a testament to self-reinvention—has endured. Unlike Superman, who arrived in the public consciousness already fully formed, Batman evolves. And The Golden Age Batman Omnibus, Volume 2 captures one of his most fascinating transformations: from pulp-fiction avenger to fully realized cultural icon.
This volume collects Detective Comics #57-74, Batman #8-15, and World’s Finest Comics #1-6, spanning the years 1941-1943. These were formative years, not just for Batman but for America itself. The nation was in the throes of World War II, its collective psyche shifting from the anxieties of the Great Depression to the realities of global conflict. And Batman, ever the reflection of his times, was changing with it. The brooding, often-lethal vigilante of 1939 was giving way to a more disciplined hero, one whose legend was beginning to solidify into something permanent.
From Noir Avenger to National Symbol
The earliest Batman stories were steeped in the aesthetic and moral ambiguity of pulp fiction. He was a creature of the shadows, a figure more akin to The Shadow and Zorro than to the caped paragon we know today. But by the time we reach the stories in Volume 2, a subtle but profound shift is occurring.
Batman is no longer a lawless vigilante; he is now a defender of order. He still works outside the system, but he is no longer explicitly defying it. The police, once skeptical of him, now work with him—most notably through the ever-increasing presence of Commissioner Gordon. The villains, too, begin to change. In Volume 1, Batman primarily battled gangsters, corrupt businessmen, and the occasional mad scientist. In Volume 2, his foes become more theatrical, more colorful, more—if one may use the word—fun.
And then there is the war. By 1942, every facet of American popular culture was expected to contribute to the war effort. Superman fought saboteurs, Captain America punched Hitler, and Batman—well, Batman largely stayed in Gotham, but his stories carried the unmistakable undertone of wartime American values. He was no longer merely avenging his parents; he was protecting civilization itself.
The Evolution of the Dynamic Duo
Perhaps the most notable development in this volume is the solidification of Batman’s partnership with Robin. Introduced in 1940, Robin had already begun altering the tone of the Batman mythos, but it is in Volume 2 that the Boy Wonder fully finds his place.
This, it must be said, was a controversial addition at the time. For those who preferred Batman as a lone, brooding figure, Robin’s presence seemed an intrusion—an unnecessary bright spot in a world of shadows. But Robin’s importance cannot be overstated. He transformed Batman from a solitary figure of vengeance into something greater: a mentor, a figure not just of fear but of guidance.
Robin’s presence also allowed for something Batman had previously lacked: humor. The stories in this volume, while still dark by modern standards, carry a certain lightness that was absent from the earliest tales. Batman and Robin trade quips. The plots, once stark and brutal, become more intricate, more adventurous. The Batman of Volume 2 is no longer just a noir detective; he is a swashbuckler, an adventurer, a hero in the fullest sense of the word.
The Rogues’ Gallery Expands: A Carnival of Crime
If Volume 1 introduced Batman’s most iconic villain—The Joker—then Volume 2 is where the full rogues’ gallery begins to emerge.
The Penguin, for example, makes his debut here, and it is remarkable how fully realized he already is. Unlike the grotesque, Tim Burton-inspired version that would come later, the Golden Age Penguin is a gentleman criminal, a waddling contradiction—cultured yet devious, refined yet ruthless. He is, in many ways, the anti-Batman: a man who uses intelligence not for justice, but for crime.
Meanwhile, The Joker continues to evolve. His earliest appearances, while striking, presented him primarily as a murderous prankster. In Volume 2, his character deepens. He is still a killer, but his crimes take on an almost theatrical quality. He does not kill merely for profit; he kills for effect, for the sheer joy of chaos. His mind is not merely criminal; it is artistic. This is the Joker who would, decades later, become one of the greatest villains in literary history.
And then there is Two-Face, introduced in 1942. If Batman is the ultimate figure of self-discipline, then Two-Face is his perfect foil: a man whose very identity is split, who cannot choose between justice and crime and so leaves it to the whims of a coin. His introduction is one of the finest Golden Age origin stories, setting the stage for one of Batman’s most psychologically rich adversaries.
The Art: A Visual Evolution
Artistically, Volume 2 is a leap forward. While Bob Kane remains credited, much of the actual artistic workload was taken on by others, most notably Jerry Robinson and Dick Sprang. Their contributions cannot be overstated.
Robinson, who helped refine The Joker’s iconic design, brought a level of dynamism to the pages that had been absent in the early years. His Batman is more fluid, his action sequences more cinematic. Meanwhile, Sprang—whose influence would dominate the 1940s—introduced a cleaner, more exaggerated style, one that gave Batman’s world an almost operatic grandeur. His Gotham was not merely a city; it was a landscape of adventure, filled with towering structures, impossibly long bridges, and streets that seemed tailor-made for car chases and rooftop battles.
Final Verdict: The Foundation of a Legend
The Golden Age Batman Omnibus, Volume 2 is not merely a collection of old comics; it is a document of transformation. It captures Batman at a crossroads, as he evolves from pulp fiction detective to cultural institution.
This is Batman becoming something more than a vigilante. This is Batman as icon.
Final Thought: The Permanence of Batman
What is most remarkable about these stories is not how different Batman is from his modern counterpart, but how much of him is already there. The shadows, the intelligence, the unwavering sense of justice—these things have never left him.
The world has changed. Batman has changed. But the core of his myth remains untouched.
Because, in the end, we will always need Batman.
As well we should.
Americans love reinvention. We admire men who transform themselves, who impose their will upon the world and emerge stronger, sharper, and more refined. This, perhaps, is why Batman—a character whose very existence is a testament to self-reinvention—has endured. Unlike Superman, who arrived in the public consciousness already fully formed, Batman evolves. And The Golden Age Batman Omnibus, Volume 2 captures one of his most fascinating transformations: from pulp-fiction avenger to fully realized cultural icon.
This volume collects Detective Comics #57-74, Batman #8-15, and World’s Finest Comics #1-6, spanning the years 1941-1943. These were formative years, not just for Batman but for America itself. The nation was in the throes of World War II, its collective psyche shifting from the anxieties of the Great Depression to the realities of global conflict. And Batman, ever the reflection of his times, was changing with it. The brooding, often-lethal vigilante of 1939 was giving way to a more disciplined hero, one whose legend was beginning to solidify into something permanent.
From Noir Avenger to National Symbol
The earliest Batman stories were steeped in the aesthetic and moral ambiguity of pulp fiction. He was a creature of the shadows, a figure more akin to The Shadow and Zorro than to the caped paragon we know today. But by the time we reach the stories in Volume 2, a subtle but profound shift is occurring.
Batman is no longer a lawless vigilante; he is now a defender of order. He still works outside the system, but he is no longer explicitly defying it. The police, once skeptical of him, now work with him—most notably through the ever-increasing presence of Commissioner Gordon. The villains, too, begin to change. In Volume 1, Batman primarily battled gangsters, corrupt businessmen, and the occasional mad scientist. In Volume 2, his foes become more theatrical, more colorful, more—if one may use the word—fun.
And then there is the war. By 1942, every facet of American popular culture was expected to contribute to the war effort. Superman fought saboteurs, Captain America punched Hitler, and Batman—well, Batman largely stayed in Gotham, but his stories carried the unmistakable undertone of wartime American values. He was no longer merely avenging his parents; he was protecting civilization itself.
The Evolution of the Dynamic Duo
Perhaps the most notable development in this volume is the solidification of Batman’s partnership with Robin. Introduced in 1940, Robin had already begun altering the tone of the Batman mythos, but it is in Volume 2 that the Boy Wonder fully finds his place.
This, it must be said, was a controversial addition at the time. For those who preferred Batman as a lone, brooding figure, Robin’s presence seemed an intrusion—an unnecessary bright spot in a world of shadows. But Robin’s importance cannot be overstated. He transformed Batman from a solitary figure of vengeance into something greater: a mentor, a figure not just of fear but of guidance.
Robin’s presence also allowed for something Batman had previously lacked: humor. The stories in this volume, while still dark by modern standards, carry a certain lightness that was absent from the earliest tales. Batman and Robin trade quips. The plots, once stark and brutal, become more intricate, more adventurous. The Batman of Volume 2 is no longer just a noir detective; he is a swashbuckler, an adventurer, a hero in the fullest sense of the word.
The Rogues’ Gallery Expands: A Carnival of Crime
If Volume 1 introduced Batman’s most iconic villain—The Joker—then Volume 2 is where the full rogues’ gallery begins to emerge.
The Penguin, for example, makes his debut here, and it is remarkable how fully realized he already is. Unlike the grotesque, Tim Burton-inspired version that would come later, the Golden Age Penguin is a gentleman criminal, a waddling contradiction—cultured yet devious, refined yet ruthless. He is, in many ways, the anti-Batman: a man who uses intelligence not for justice, but for crime.
Meanwhile, The Joker continues to evolve. His earliest appearances, while striking, presented him primarily as a murderous prankster. In Volume 2, his character deepens. He is still a killer, but his crimes take on an almost theatrical quality. He does not kill merely for profit; he kills for effect, for the sheer joy of chaos. His mind is not merely criminal; it is artistic. This is the Joker who would, decades later, become one of the greatest villains in literary history.
And then there is Two-Face, introduced in 1942. If Batman is the ultimate figure of self-discipline, then Two-Face is his perfect foil: a man whose very identity is split, who cannot choose between justice and crime and so leaves it to the whims of a coin. His introduction is one of the finest Golden Age origin stories, setting the stage for one of Batman’s most psychologically rich adversaries.
The Art: A Visual Evolution
Artistically, Volume 2 is a leap forward. While Bob Kane remains credited, much of the actual artistic workload was taken on by others, most notably Jerry Robinson and Dick Sprang. Their contributions cannot be overstated.
Robinson, who helped refine The Joker’s iconic design, brought a level of dynamism to the pages that had been absent in the early years. His Batman is more fluid, his action sequences more cinematic. Meanwhile, Sprang—whose influence would dominate the 1940s—introduced a cleaner, more exaggerated style, one that gave Batman’s world an almost operatic grandeur. His Gotham was not merely a city; it was a landscape of adventure, filled with towering structures, impossibly long bridges, and streets that seemed tailor-made for car chases and rooftop battles.
Final Verdict: The Foundation of a Legend
The Golden Age Batman Omnibus, Volume 2 is not merely a collection of old comics; it is a document of transformation. It captures Batman at a crossroads, as he evolves from pulp fiction detective to cultural institution.
This is Batman becoming something more than a vigilante. This is Batman as icon.
Final Thought: The Permanence of Batman
What is most remarkable about these stories is not how different Batman is from his modern counterpart, but how much of him is already there. The shadows, the intelligence, the unwavering sense of justice—these things have never left him.
The world has changed. Batman has changed. But the core of his myth remains untouched.
Because, in the end, we will always need Batman.
As well we should.
July 7, 2025
1941-3 gems include Penguin & Prof. Radium debut, Penguins kills a boxcar hobo, Joker KOs himself w/ a boomerang, Bat reenacts Moby-Dick & Christmas Carol & 3 Musketeers, Joker declines to unmask Bat, Bat slaps Cat & fences Mr. Baffle, Joker is executed & resurrected, Bat knifes a squid, Two-Face robs a Superman screening, Batcave debuts, Penguin rides an ostrich, scarred side of Two-Face’s coin catches a cop bullet, Cat impersonates Linda, Scarecrow shoots a jade scarecrow, & Wonderland Gang debuts
April 20, 2025
While Batman still tussles with gangsters, this volume features many showdowns with the Joker, Penguin, Catwoman and introduces Two-Face. He even gets to punch some Nazis a couple of times. There's a lot of charm to these stories even if they feel a bit same-y.
January 28, 2018
Just like the previous omnibus, this one introduces some of Batman's famous Rogue's Gallery.
This one features the first apearances of The Pinguin, Two-Face and Tweedle Dee & Tweedle Dum.
This one features the first apearances of The Pinguin, Two-Face and Tweedle Dee & Tweedle Dum.
November 22, 2024
A bunch of episodic schlock stories from the late 1930s and early forties that sees the caped crusader and the boy wonder combatting various hackneyed crime plots.
This was expectedly quite awful but there were some good schlocky moments here and there for those that like that sort of thing. I made a post of my favorite moments of unintentional humor here so that those interested can save themselves the hassle of drudging through this tome: https://www.reddit.com/r/OmnibusColle...
This was expectedly quite awful but there were some good schlocky moments here and there for those that like that sort of thing. I made a post of my favorite moments of unintentional humor here so that those interested can save themselves the hassle of drudging through this tome: https://www.reddit.com/r/OmnibusColle...
Displaying 1 - 6 of 6 reviews