SYNOPSIS: A cloud of fear has settled over the city, and the Scarecrow has the people of Gotham right where he wants them. Jim Gordon will take the fight right to Scarecrow’s seat of power…City Hall! But will Gordon have to challenge him on his own? Where’s the Bat-Man? The Dark Knight has found himself staring down a power unlike any he’s ever seen: a man of unlimited strength. A superman. And he has a lot of questions for the Caped Crusader. Will these two find common ground in time to thwart the Scarecrow and Hangman’s endgame?
At last, the world’s finest of 1940 meet!
Historically, Batman and Superman shared their first cover in 1941 (World’s Finest Comics #1), but didn’t meet properly inside of a comic book until 1952’s Superman #76. While Jurgens obviously moves the timeline forward for this BLACK LABEL story, it’s with good reason, allowing for some fun confrontations between the two, in the vein of Superman: The Animated Series and Man of Steel #3.
Superman is very much in keeping with his early Siegel and Shuster days. Bullets hurt, he’s leaping tall buildings but not flying back through time, and Clark has more gumption than later iterations. He makes for a good foil for The Bat-Man, who is trying to reason out what the plausible explanation is for the Man of Steel’s reported feats. Given his shadowy nature, Superman is wary of The Bat-Man as well, a trait that carries over to when Bruce and Clark later meet.
Lois and Julie also make for quite the pair, too. Historically, one would think having Lois matched against Vicki Vale would be the obvious route to go, but I like what Jurgens does here. Their shared brush with danger bonds them and allows Julie to see her as a person, not just a reporter looking for a gossip column scoop from a famous actress. I kinda want to see more of them together.
As for the villains, The Hangman becomes a glorified sidekick this time out, losing the menace from his earlier appearances. Fortunately, The Scarecrow more than makes up for the deficit in threat level, with a gruesome appearance and a completely evil plot. His diabolical plan, grounded in the reality of the era, feels more heinous than if it happened in the present day. Bringing in the historical events of the ‘40s carries through to readers of today, where we still deal with similar issues, seeing hatred in fear reflected in the eyes of the populace. Having the Scarecrow’s fear gas as the catalyst for bringing out humanity’s ugliness holds up a mirror to society, as well as giving Gordon a chance to don his WWI gas mask, making him resemble the Golden Age Sandman!
Bruce is appropriately driven, or should I say obsessed, with taking out the threat, causing no degree of strife to his own health and his relationship with Julie. I like what Jurgens plays around with here. We know Julie is Bruce’s fiancée at some point, and it doesn’t last, but we get into the nitty-gritty a bit as to why. For such a short relationship, feelings run deep, and the stress and toll of being The Bat-Man can potentially sink this relationship. As a Batman fan, the conclusion seems obvious, but Jurgens makes you wonder what could be in store if he gets to spin more tales in this era.
I love the visuals provided by artist Mike Perkins and colors by Mike Spicer. If you’ve read the preceding five books, it’s more of the same. Noirish visuals, heightened colors, with a realism to the period and characters’ expressions. It feels like a comic from 1940, and yet it is far more detailed and complex than material from that era. The Bat-Man and Scarecrow challenge each other for who can look the most demonic. The horned cowl ears might not be to everyone’s taste, but Perkins pulls the look off, especially when The Bat-Man is dimly lit.
Second Knight is a worthy follow-up, expanding the world, but still checking in and making time for characters from the first installment. As the Nazi threat looms, the stakes feel higher, but not at the sacrifice of characterization. The addition of Superman is a welcome one, handled by one of his best creators. The interaction between the “World’s Finest” is top-notch, both when it comes to action and philosophical debates. Having a man from space doesn’t seem outlandish, coming from Jurgens and Perkins, fitting the character effortlessly into the narrative. I certainly hope this isn’t the end for this team with these characters. A Metropolis spin-off and their interpretations of a certain Clown Prince and Boy Wonder would be welcome additions to their legend. Let’s hope it’s in the cards! – Javier E. Trujillo
GRADE: A