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The Shadow Influences on Batman

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This is a collage showing the Shadow's influence (illustrated by Kyle Baker and Bill Sienkiewicz) on Batman including Batman adopting the chilling menacing laugh in All-Star Batman & Robin The Boy Wonder by Frank Miller (illustrated by Jim Lee). It's not Batman as a psycho like the Joker, it's Batman adopting another trick from the Shadow. "Batman has his roots in the pulps - specifically The Shadow." - Frank Miller, Comics Interview #31 (1986).  

The Shadow was originally created by writer Harry Chariotas a mysterious host on the radio voiced by James La Curto in 1930 on the Detective Story Magazine Hour radio show on CBS, which was promotion for publishers Street & Smith's Detective Story Magazine. The Shadow's voice introduced the program stating, "I...am The Shadow! Conscience is a taskmaster no crook can escape. It is a jeering shadow even in the blackest lives. The Shadow knows... and you too shall know if you listen as Street & Smith's Detective Story Magazine relates for you the story of..." Then a story from Detective Story Magazine was read. After the story, the program would then end with a chilling laugh by the Shadow.
thelivingshadow.wikia.com/wiki…
www.old-time.com/sights/shadow…
The Shadow A Detective Magazine started in 1931 and writer Walter Gibson (under the pseudonym Maxwell Grant) was really the co-creator of the Shadow as he created the Shadow's gadgets, secret identity as Kent Allard and disguise as wealthy Lamont Cranston, etc.
The Shadow got his own radio show in 1937 with the Shadow voiced by Frank Readick with the iconic "Who knows what evil lurks in the hearts of men? The Shadow knows", and then voiced by Orson Welles from 1937 to 1938.  
The Shadow appeared faithfully in live-action in The Shadow (1940) movie serial directed by James Horne and starring Victor Jory.
The Invisible Avenger (1958)/Bourbon Street Shadows (1962) is a "The Shadow: Year One" kind of film directed by James Wong Howe, Ben Parker and John Sledge and starring Richard Derr. It was originally intended to be the first episodes of a The Shadow TV show.   

Bill Finger explained in Jim Steranko's History of Comics volume 1 (1970), "My idea was to have Batman be a combination of Douglas Fairbanks (Zorro), Sherlock Holmes, the Shadow, and Doc Savage as well. My first script was a take-off on a Shadow story. I patterned my style of writing Batman after The Shadow. Also after the old Warner Brothers movies, the (film noir) gangster movies with James Cagney, George Raft, Bogart. I always liked that kind of dramatic point of view. It was completely pulp style."

Bob Kane explained in his autobiography Batman & Me (1990), "The Shadows' auto-gyro was the inspiration for DC writer Gardner Fox to create the Batgyro, the first Batplane (Detective Comics # 31 (1939))."  

Anthony Tollin: "Well, it clearly establishes that without The Shadow, there would be no Batman! Since the first Batman story was a start-to-finish lift of an earlier Shadow novel, it establishes that the similarities between the two characters were no accident. Bruce Wayne is wealthy young man about town Lamont Cranston. The friendship between Bruce and Commissioner James Gordon (whose name comes from The Shadow’s sister magazine, The Whsiperer) is no different from the relationship between Cranston and Weston. Batman’s talent for escapes also comes from The Shadow, since the first recorded Batman escape duplicates The Shadow’s in the same story. And the Shadow lifts continued in subsequent stories, even ones written by Gardner Fox, which gave Batman an auto-gyro, Bat-a-rangs like The Shadow’s cable-outfitted "yellow boomerang," and a suction-cup device for scaling walls … all Shadow gimmicks. Without the Knight of Darkness, there would be no Dark Knight." 
www.comicmix.com/2007/06/24/th…
www.comicmix.com/2007/06/25/th…

The Shadow met Batman in Batman #253 (1973) "Who Knows What Evil?" and 259 (1974) "The Night of The Shadow" by Denny O'Neil (illustrated by Irv Novick). Batman also states the Shadow's influence on his disguise in Detective Comics #446 (1975) "Slaughter In Silver" by Len Wein (illustrated by Jim Aparo). 

Frank Miller explained in Comics Interview # 31 (1986),"Batman has his roots in pulps, specifically the Shadow. Much of what he does to criminals is staged like a horror movie. He's the hero who acts like a villain - the epitome of the Dionysian hero."

Anthony Tollin: "Walter Gibson described The Shadow as a "Benign Dracula." In the conventional melodrama, the villain in black laughed evilly as he tied the girl down to the railroad tracks. Gibson turned that around, so that the menacing laughter and the arrival of the man in black represented rescue and salvation, not doom. The Shadow is a hero in black who owns all the power and charisma of the melodrama villain. That was, and still is, a brilliant innovation."
www.comicmix.com/2007/06/24/th…

In Batman: The Dark Knight Returns, Superman remembers about Batman, "
You were the one they used against us, Bruce. The one who played it rough. When all the noise started from the parents' groups and the Sub-Committee called us in for questioning--you were the one who laughed...That scary laugh of yours...'Sure, we're criminals,' you said. 'We've always been criminals. We have to be criminals.' We almost threw a party when you retired. By then the FBI was in it and things were getting out of hand. And there was that trouble with Oliver. Do you remember why you retired, Bruce? No--Just look at you. You'd do it all again--And like a murderer you'd cover it up again. Nothing matters to you except your holy war. They were considering their options and you were probably still laughing when we came to terms. I gave them my obedience. They gave me a license and let us live. No, I don't like it. But I get to save lives and the media stays quiet. Diana (Wonder Woman) went back to her people. Hal (Green Lantern) went to the stars. But you, Bruce--you and your wild obsession." 

And Frank Miller's idea that these superheroes would be vilified by parents groups, the media, and be called in for questioning by a Senate Sub-Committee was modeled after the real-life vilifying of these characters and the U.S. government proceedings against them in the 1950s. In reality these superheroes Batman, Superman and Wonder Woman were vilified by parents groups, the media, a psychologist named Frederick Wertham and a Senate Sub-Committee on Juvenile Delinquency called the comic book publishers in for questioning and they eventually make a pact with the Comics Code Authority that they would give them their obedience or disappear. It happened in 1954 and the original strict Comics Code was created, those that weren't code approved were forced out of publication because the threat of newsdealer boycotts were pressuring them into not selling what somebody had found offensive. DC editors had been censoring Batman comics since 1941 when they created an Editorial Advisory Board so by the 1950s it was actually the horror and crime comics Crime Suspenstories, Crime Does Not Pay, Tales of the Crypt, Vault of Fear, Haunt of Fear, that made comics all look like monsters and really soiled them in the public eye. Batman is at his core a horror-esque character dressing as a bat to frighten and had very brutal methods before DC editors censored the character, so Frank Miller puts Batman in the role that the horror and crime comics and publisher Bill Gaines were in at the time that these things really happened.

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