Since marvel07 was nice enough to provide me with scans of the Wizard article, I thought I'd share it with the group. Enjoy...
The one mystery the Dark Knight Detective cant solve? The riddle of his own creation.
Crack open the cover to any Batman comic Batman, Detective Comics, Worlds Finest, whatever and youll find one commonality: The phrase Batman created by Bob Kane.
But Many insiders will tell you that this simple statement of seeming fact is every bit as fictional as the Bat-tale it introduces. At the very least, theyll tell you the statement is incomplete. Oh, theyll admit, sometimes grudgingly, that Kane should be there. But theyll also tell you that you wouldnt be reading the book today hell, you probably even wouldnt have heard of Batman were it not for the contributions of another man.
Bill Finger.
Havent heard of him? Youre not alone. Fingers cautionary tale is not well known, but its every bit as compelling as that of Batman himself.
Were all attracted to tragedy, and hes a tragic figure, says current Detective Comics writer Ed Brubaker. He did so much so well for so long! He was the most inventive guy on the book, worked on it for decades, and in the end, it got him nothing.
Just what did Finger do? At the very least, he wrote Batman tales for over 20 years, introducing the character in Detective Comics #27, penning the first Robin story in Detective #38, and introducing the Joker, Penguin, Catwoman, Bat-Mite, and the very Batcave itself. At the most, he may have ensured that Batman existed at all.
DC Comics (then called National Periodical Publications) saw it had a hit on its hands when Superman debuted in 1938. The order came down to editors Whitney Ellsworth and Vin Sullivan: Bring us another long underwear-type. Ellsworth turned to Bob Kane, a 22-year-old cartoonist doing some humor strips for the publisher at the time, who drew up something called The Bat-Man. Kanes design was influenced by Superman, Zorro, a silent film called The Bat, and a Leonardo da Vinci design of a flying machine. Kanes original Batman wore red tights with a Zorro-styled mask, and had two stiff-looking wings mounted to the back of the costume. The mish-mashed combination didnt wow anyone, Kane included.
Kane wasnt sure if his design would pass muster, so he called an old high school classmate for a friendly chat and a second opinion, a man he knew to be a creative sort. He called Bill Finger.
The 25-year-old Finger came over to Kanes apartment and agreed the design needed work. He set to that work immediately. Pulling a dictionary off Kanes shelf, he opened to a picture of a bat. Bill said, Why not make him look more like a bat and put a hood on him, and take the eyeballs out and just put slits for eyes to make him look more mysterious? Kane recounts in his 1989 autobiography, Batman & Me.
Batmans domino mask changed into a full cowl. Finger also suggested making the color scheme darker. Color it dark gray to make it look more ominous, Kane recalls him saying. Finger also got rid of the wings, evolving them into Batmans now famous cape. In mere hours, the Batman we all know today was born of Fingers tinkering with Kanes awkward design. If Kane was indeed Batmans father, Finger was at least the doctor who delivered the baby and probably prevented a dud.
DC loved Batman and immediately commissioned Kan to produce it. Kane, knowing Finger was up to the task and knowing Finger desperately wanted to be a writer, sub-contracted Finger to write Batmans first story for Detective Comics #27. Kane also did something else: He got a contract.
Kane came from a well-to-do New York family with enough money to employ lawyers to nail down Kanes interest in the character. Soon after the conception, Kane secured an ownership percentage in Batman and the ironclad legal guarantee that for now and forever, all Batman tales would start with the tag Batman created by Bob Kane.
Finger came from a poor background in the Bronx, and in fact had been bedridden for months with a case of scarlet fever as a child. It was there in bed, with nowhere to go, that he fell in love with reading. He devoured books by the dozens, and it became his lifelong dream to one day become a writer himself. When Kane made his fateful call to Finger, the writer was barely scraping by with a low-paying job as a shoe salesman. Given the opportunity to write for a living, He leapt at the chance. For the first six Batman stories, Finger was Kanes employee, nothing more. It wasnt until the seventh script that Finger got paid via DC. They may not have even known he existed at the time.
Batman was booming and Kane, realizing where his financial interests lay, hired a stable of artists to produce more material. The work was very collaborative. One day, Kane mentioned to Finger that Batman needed a boy sidekick. Finger said that hed dream one up, and went out for a sandwich. By the time he returned, Kane and inker Jerry Robinson had already nailed a name: Robin. Finger then wrote the first Robin tale.
Similarly, Finger found the Joker for Kane to draw. Accounts vary as to if Kane or Robinson came up with the notion of the psychotic villain, but it was definitely Finger who delivered the visual. Bill came in with a photograph of Conrad Veidt, who played in a movie called The Man Who Laughs, Kane relays in Batman & Me. Heres a picture of the Joker character, Bill exclaimed. Copy it and Ill write the first Joker story.
Kane, a superb copyist in his own words, copied; and Bill Finger wrote the Jokers first two stories, in Batman #1 and #2. But every story, regardless of who wrote it, drew it, or came up with a new character, came out with the same byline: By Bob Kane, as per Kanes contract.
In the early days, only the originators put their names on the strips, regardless of whether they had ghost-writers or ghost-artists doing their features, Kane says in Batman & Me. I never thought of giving [Finger] a byline, and he never asked for one. Still, as the originator and co-owner, Kane enjoyed healthy bonuses based on sales. Finger made his script rate of $12 a page, and still lived with his parents, helping his poor family make ends meet.
Finger wanted too desperately to be a writer; he would do anything to remain in his position, and rise out of poverty. He was so overwhelmed that he was getting steady jobs that he never thought of anything else, says Sheldon Moldoff, an artist who ghosted for Kane for 16 years. He just wanted to be a writer. Bill was so happy he was working, he didnt think about royalties, rights, any of that. He was very grateful to Bob.
Perhaps too grateful. Golden Age artist Martin Nodell once visited Kanes apartment with Finger in tow. We rang the bell, and Bob Kane came to the door, Nodell recalls. When Bill entered the room, it was if he was greeting the king. Bill was bowing down, his hands out, just to say hello. That, in essence, was the way it was. Bill felt as if he had to condescend before Kane.
The love was not returned. Bob Kane never was a nice guy, Moldoff says flatly. He had a tremendous ego. If I came up with an idea, he had no problem stealing it and claiming it as his own. Was Bob generous to Bill Finger? No. Was he nice with him? No. Bob wasnt nice to anybody.
Finger, on the other hand, was known for his kindness and generosity. Jerry Robinson was only 17 years old, consumed by school all day and drawing all night, when he started in the Kane studio. Finger took the youngster under his wing. Bill was very much my cultural mentor, Robinson remembers. He exposed me to potential. He brought me to museums, to fine movies. That inspired us both.
Fingers love of learning, born of his bedridden childhood, never stopped. I dont think he had a college education of any kind, but he was very auto-didactic, always self-teaching, said 15-year Batman Editor Denny ONeil, who credits Finger with mentoring him when ONeil began his career in 1965. He made notes constantly. He was very observational.
Finger was famous for taking his job seriously. He kept huge files of articles clipped from newspapers and Popular Science. Whenever Batman needed a way out of a tough situation, Finger could refer to his files and find one. The technical wonders of the Batcave, with its computers, submarine pens, and Giant Penny, sprang from the imagination and files of Finger. Other comic writers of the time surely knew his importance. A Golden Age Green Lantern villain who pulled his crimes from a huge book of tricks was named William Hand, an obvious riff on Bill Fingers name. But Finger was more than just a book of tricks. He was one of the guys who showed us how to do this work in this new medium, ONeil maintains. Comics were really brand-new at the time the umbilical cord hadnt even been cut. And Bill really understood, almost instinctually, how to do it. He really had a handle on writing for comics. Ive seen some of [Superman co-creator] Jerry Siegels original scripts, and it was these two guys, Siegel and Finger, who really first understood writing for comics. They taught the next generation.
But that which made Finger great was also his downfall. Finger cared too much about his work, and refused to turn in a script until it was perfect. For a poor man who never made much money
this was a problem.
Bill was the greatest comics writer of his time, and maybe since, says Jerry Robinson. But he was not a natural writer. Things didnt flow from his pen. He really struggled every time.
Finger once delivered a first page of a script stapled to a bunch of blank pages to an editor, hurriedly grabbing his check and bolting the office before his editor could see that the work wasnt finished. Missing deadlines led to lack of income, which led to paralyzing fear, alcoholism, and more missed deadlines. By the mid-1950s, Kane had moved to California and was comfortably out of comics, with a massive studio producing work in his name. Finger still struggled, with both deadlines and money.
The second Batman story he ever did for me [in the early 60s], I made him sign a little note that went roughly as follows: I, William Finger, will not ask for the check for this story until Ive completed it, says longtime DC Editor Julius Schwartz. He had a habit of always needing money, and before hed finish a story, hed ask for a check. And he was invariably late.
By the mid-1960s, things were changing. New editors were coming in at DC, and Kane hadnt been personally involved for years. Fingers assignments dwindled away, and he fell off editors radar. Finger, once known as the best writer in comics, became almost an urban legend to new editors. Hed occasionally be seen haunting a bar, but no one would give him an assignment, faring certain deadline problems. By 1965, Finger was out of comics. He resurfaced very briefly writing mystery stories at DC in the early 70s, but at the time of his death in 1974, Finger had lost the only thing that really mattered to him. He wasnt a writer anymore.
All thats left today of Finger is his place in history a place thats largely misplaced. His contributions are lost to the mists of time, and the fact that Bob Kane had the power of an ironclad contract on his side.
Its impossible to tell exactly who created what anymore, says Denny ONeil. The truth is, its 60 years since, and nobody really kept notes then. But Ive spent a lot of time looking at Batman history. It was my main professional concern for 15 years. And near as I have been able to learn, Bills contributions were considerable.
Even Michael Uslan, the producer of the Batman movies and a close personal friend of Kanes, agrees. It was such a great creative effort by so many people over so many decades that really created Batman, Uslan says. But you still have to look at Bill Finger as one of the two essentials. Its Kane-and-Finger and I say that in one breath who were there at the beginning.
Even Kane could give Finger his due. I must admit that Bill never received the fame and recognition he deserved. He was an unsung hero, Kane wrote in Batman & Me, which he dedicated, among others, to Finger. I ran into Bill a year before he died in 1974. Bill was disheartened by the lack of major accomplishments in his career. He felt that he had not used his creative potential to its fullest and that success had passed him by.
But crafting Batman is a major accomplishment, and more people are learning of the man behind Batmans mask. Julius Schwartz has long been an advocate of getting Finger the credit he is due. ONeil, too. I certainly think he deserved more than what he got, both in terms of credit and in terms of money, ONeil says. There was no way for me to get him money, because of the legalities involved. It may not be fair, but its the law.
Official credit may be out of the question. Short of adding his name to the credits, which I dont think can legally be done, I dont think theres anything DC can do, says comic writer and historian Mark Waid. The Bob Kane estate is protected. Bob Kanes selfishness continues from beyond the grave.
Kane grew rich off Batman and lived a comfortable life until he passed away in 1998. Finger died an unfulfilled man, never enjoying the late-life accolades or money that did eventually come to Superman co-creators Jerry Siegel and Joe Shuster.
Siegel and Shuster are looked at as these guys who really got screwed until later in life. Bill Finger is like them, except he never got un-screwed, says Ed Brubaker.
And Finger has left something more behind than just Batman for other creators to follow. Its a different scene, Brubaker says. If you write Batman right now and create a new character, regardless of the fact that Bob Kane created the comic, you would get money for that character. Chuck Dixon got money when they used Bane in the Batman and Robin movie. The business is more human now.
Finger also has a final, more chilling legacy, according to Brubaker. The greatest thing, but also the most ****ed thing about Bill Finger is that if youre ever in a situation where youre worried that youre not getting proper credit for what youre doing, you can say to your editor, Hey, Im feeling like Bill Finger over here. And I dont want to get Fingered. And theyll understand. Everybody gets it. I guarantee it.