Marshall Rogers rose to fame as the penciller for Steve Engleharts era-defining 1970s Detective Comics run. Rogers work was exuberant, strongly action-orientated and (for the time) heavily stylized. His Batman was strong, intelligent and urbane, he scowled a lot (as Batman has subsequently done ever since), but his Bruce Wayne was also a footloose playboy, who enjoyed his passionate nights with main squeeze Silver St. Cloud. Hey, after a two-decade dry spell, what man among us could blame him? Rogers Batman wrapped his face in his cowl a lot, hiding the Human side of his visage in order to only show his squinted, pupil-less eyes. When drawn correctly, Batman is always a visually arresting character and Rogers was one of the masters of making him look fresh, dynamic and interesting. His Robin (now a guest star as Dick Grayson studied at University) had grown too, into a muscular proto-Nightwing who threatened to (and actually did at one point) burst out from his ill-fitting kids costume. It was as if all his lack of growth during the 50s and 60s had finally caught up with him! Either that, or hed been at the venom pills! Rogers work is some of the most important in the history of the Batman mythos. Not only did he draw the definitive Joker story The Laughing Fish/Sign of The Joker, he also drew one of the single greatest Hugo Strange stories of all time, The Dead Yet Live. He also co-created Clayface III with Len Wein. Later in his career, Rogers drew Engleharts oft-maligned (but actually very good) Dark Detective miniseries, as well as one of my personal favourite Batman stories (which just happens to be the great Archie Goodwins comics swansong), Siege, from Legends of The Dark Knight.