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Batman barely made an effort to catch this guy, presumably thinking it was all some sort of Make-A-Wish thing for a terminally stupid patient.
What you need to do is dig into the archives and pull out one of those disposable alternate universes you guys used to have. The unique and creative ones, not the ones which were just a way for Superman to bone both Lois Lane and Lana Lang.
Back when they started out, superhero comics didn’t care all that much about keeping track of who did what, mainly because it was the 1940s, they were printed on the cheapest possible material (which incidentally is why most old comics…
"It's alright to cry. I know you miss the touch of your incestuous man-child husband."
DC struck gold with the whole "psycho killers on a leash" formula. Or so you'd think, but not every recruit of the Squad was the kind you're going to see on the big screen.
Ah yes, the sidekick: one of the most enduring concepts in superhero fiction. Dating back to the earliest days of the medium, the sidekick typically serves as a valuable backup for the hero himself (as well as an extra shootable…
These are villains who, for one reason or another, thought it'd be a good idea to antagonize a superpowered vigilante when at best they should be shaking down lemonade stands for protection money.
Sometimes it seems like Jor-El sent his son to Earth because he foresaw what a rancid sack of dicks he was going to turn into.
For Spidey, the 1960s were a never-ending parade of humiliation that helped shape Peter Parker into the rancid swamp of self-loathing and textbook school shooter personality that has made him one of Marvel's most identifiable heroes.
Unfortunately, DC decided that what the fans enjoyed wasn't the social commentary and subversions of standard superhero archetypes, bur rather that they were super violent and needlessly dark and poorly proportioned.
Werewolf rodeos never really caught on as a national pastime.
With superhero fiction in its infancy, a lot of the early stories starring our heroes haven't aged well, and not just because of the minstrel show-levels of racism.
Expressionist film is incredibly high concept, and trying to mix that with the over-the-top nature of superhero characters is like trying to perform heart surgery with a chainsaw--technically possible, but you're more likely to end up with a gross mess and a mountain of lawsuits.
What the hell was up with that single nipple spike? He looks like a kid trying to piss off his suburban parents rather than a supervillain on a rampage.
Villains in the 1960s were so bad at covering their tracks that a group of suburban brats regularly just stumbled across their schemes while hula-hooping and drinking malt shakes and enforcing segregation or whatever the hell kids did in those days.
Coming up with a recurring enemy for Wolverine is harder than it sounds, because he has a habit of gutting them from throat to crotch like a misbehaving catfish, which is sort of understandable when your power is mostly indestructible claws and mood swings.
A few enterprising writers realized that these comically outmatched losers could be repurposed and present an actual threat to our favorite heroes.
It wasn't always easy to fill 22 pages worth of Comic Code-friendly stories and adventures, especially not since anything good you came up with would just get stolen by Stan Lee anyway. Combine that with deadline panic, and you end up with a few characters who didn't think their personas through very well.