This is the unforgettable that forever changed Batman's world, adding a new element of darkness with its unflinching portrayal of The Joker's twisted psyche.

Writer Alan Moore, acclaimed author of WATCHMEN and V FOR VENDETTA, offers his take on the disturbing relationship between The Dark Knight and his greatest foe. The Clown Prince of Crime has never been more ruthless than in this brutal tale.

This special new edition also includes a story written and exquisitely illustrated by Brian Bolland.

Illustrator Brian Bolland has touched the limits of what can be done in the mainstream comic medium, surpassing even Dave Gibbons in *Watchmen* (that undisputed *Citizen Kane* of graphic novels). I've counted roughly 230 individuated facial expressions in this book's 48 pages, every cameo and minor character penciled, inked, colored, storyboarded into life, the backdrops brimming with nuance and articulated detail, the coloring as lurid and suggestive as Steven Soderbergh's color-coded triple-narrative in *Traffic*. The Joker alone is granted 62 articulated facial expressions (19 during the course of his pre-Joker psychodrama), ranging from bright, sportive lunacy (each facial shot individuated) to an almost genuine grief and sadness towards the end. The spinal-paralytic Barbara Gordon, who appears in only 26 panels, is granted a dramatic reality remarkable given her minor role in the story. The portrait of her staring in bemused horror at the Joker (standing in the hallway with Hawaiian shirt, camera, and revolver), while the scene turns "orange" in anticipation of bloodshed, is the most memorable facial expression I've ever seen rendered in a comic book. As a close runner-up, the Joker's hang-dog look on page 41, as he asks Batman sincerely, "Why aren't you laughing?", is the only *convincing* moment of unfeigned sadness the Joker has ever given us, in any comic book.

The blocking and visual narrative is perfectly tuned, each panel calculated for sleek momentum and smooth dramatic economy. *The Killing Joke* is eye-candy from start to finish, and is over before you know it, leaving one to ponder the perfection of its design. As someone who once aspired to write for comics, I've meditated long and hard on how it might be "one-upped," while remaining in a commercial format, resisting the temptation for self-indulgent surrealist excess (i.e. *Arkham Asylum*). Needless to say, I've yet to come up with a solution.

There is no other comic book that's done so much for the Joker, that's made him as "real," as darkly appealing a figure (almost sentimentally so). The difficulty of representing so hyperbolic a personality, and making him seem refreshingly "human," is a testament to Moore's script and Bolland's incredibly articulated visual style. The duality between Batman and the Joker is a psychodrama I'm always eager to see re-rehearsed, but by 1988, in *The Killing Joke*, the leitmotif may have reached its limit. Even *Arkham Asylum* couldn't overtake it. (And let's face it, *The Dark Knight Returns* just prostituted the Joker for an uninteresting subplot.)

In the mad bacchanalia of our postmedia funhouse-culture, the Batman has become obsolete, an aging revenant that cannot keep up with the Joker's all-too-knowing take on media pathology and American theme-park culture. As Mark Dery points out, the Joker may be (superficially anyhow) Deleuze-Guattari's ideal schizophrenic, a de-centered whirlwind of morbid indulgence who never records "the same event in the same way." As the Joker confesses over the funhouse P.A. system: "Something like that happened to me, you know. I...I'm not exactly sure what it was. Sometimes I remember it one way, sometimes another. If I'm going to have a past, I prefer it to be multiple choice! Ha ha ha!" But now I'm just being cheeky. The reader must decide for himself whether I am "overstating" the Joker's case.

Moore's rough draft for the Joker was Edward Blake (a.k.a. the Comedian) in the aforementioned *Watchmen*. But despite the dramatic achievement of that character appearing drunk in Moloch's bedroom, confessing terror and obsolescence to his old enemy, Moore's Joker is far more chilling, far more suggestive, and as I mentioned, dangerously appealing. The duality between this harlequin in toxic greasepaint and that billionaire-criminologist who "dress[es] up like a flying rat" reminds me of a certain line from Cervantes: "Don Quixote is a madman and we are sane, yet he goes away sound and laughing while your Grace is left here, battered and sorrowful. I wish you would tell me now who is the crazier: the one who is so because he cannot help it, or he who turns crazy of his own free will?" Batman turns crazy to put himself on the wavelength of the villains he tracks and combats, and the consequences for him (and those he protects) are real and immediate.

If Moore's thesis is correct, then it would seem that Batman *needs* the Joker, if not to rehabilitate him, well, then, simply to *contain* him, as a talisman held up in uneasy triumph against the impending waves of fin-de-millennial mass dementia. In one scene, the Joker boasts: "I've demonstrated there's no difference between me and everyone else! All it takes is one bad day to reduce the sanest man alive to lunacy. That's how far the world is from where I am. Just one bad day." John Wayne Gacy would be proud.

*The Killing Joke* succeeds because it is able to cloak its pretentions in a commercial format, allowing us to put our guards down just long enough for Moore and Bolland to hit us hard. It may seem silly to try and "intellectualize" comics, but as the medium develops, a more sophisticated criticism is required to play catch-up with its images and explorations, and Alan Moore has long been a figurehead worth catching up to.


Killing Joke finally out in Hahahard cover   April 3, 2008
 30 out of 35 found this review helpful

Blurbs on a cover always tell you that whatever book you're holding in your hands is better than the best, that you'd probably die if you'd put it back to where it came from, and more of that kind of nonsense.
In this case (in 1988) they had Tim Burton saying it's his favorite and that it's the first comic he ever loved. The poor fellow. Don't get me wrong: I adore Tim Burton. I love everything he did (after Batman), but there definitely are other great comic books out there.
But still, he is right in saying that this one counts among the best. That is, now it does. Now that Brian Bolland himself has redone the original coloring (by John Higgins). I love Brian Bolland. He is one of my all time favorite artists, a genius in black and white (which best brings out his fine and detailed pencils). And he did a great coloring job here, too. The colors are more pastel and thus bring back a balance to the book I missed in the 1988 paperback.
The original coloring looked as if Mr. Higgins had just bought himself a new set of colors and went for it. There was so much yellow, green and red dripping off the pages that it stopped me from entering the storyline. It looked seventies cheap. Also, to my taste it almost destroyed Brian's genius penciling.
Which is a shame, cause it's a masterpiece (yes, another one) written by Alan Moore. Not for kiddies. The Joker is too brutal for that here. A dark tale about insanity, true insanity, the ways of getting there and what it can lead to. The Joker is meaner and deeper than ever. Batman isn't weak, after all he's Batman, right?! But then, why is it so hard for him this time to deal with the creep? That is, can he?
As a small extra there is a bonus story of a few pages, a few sketches and instead of the tpb's first page with the splattering raindrops, you get a set of bloody eyes staring at you out of the dark.
Highly recommended. Buy this new version and enjoy Mr. Bolland's genius artwork and Mr. Moore's timeless tale.



One REALLY bad day.   July 14, 2008
 29 out of 30 found this review helpful

Watch Video Here: http://www.amazon.com/review/R3CAS7DS48K807 "The Killing Joke" is widely considered to be the be-all-end-all of Joker stories, so what better way to pay homage to the greatest comic book villain of all time near the eve of his re-unveiling in The Dark Knight than by reviewing his definitive story? This is the comic that (sort of) revealed the origin of The Clown Prince of Crime, humanizing him to an extent never before, and truly examined -with pictures rather than words- the antagonistic symbiosis that exists between Joker and his arch nemesis, The Batman. A beloved Gotham regular will never be the same and another will be put through hell before this story is done. Oh, and there are creepy little henchmidgets as well. Gotta love the henchmidgets.

The art is outstanding, the storytelling superb, and the character examinations are vital to understanding both combatants. The "one bad day" premise highlights the "two sides of the same coin" argument that Batman and Joker are in fact more alike than dissimilar. As if Bruce Wayne took a right when his arch-nemesis took a left. The controversial ending leaves little doubt as to Alan Moore's take on the debate, and I like it like that. While many critics have strongly resisted both the comparison and the somewhat sympathetic look at The Joker's past, the truth is that every great character -villain or hero- needs that sort of intricacy to their story to remain relevant in the world of modern fiction. Comics are no longer for children and adults realize that the world is seldom black and white, that all monsters were once men, and that unspeakable darkness and insanity resides deep inside each human mind. It can take years of suffering to bring them out or it can take one bad day. One bad day could ruin your very existence and everything you were; it's a frightening reality that cannot be overlooked while reading this comic. The more the reader is willing to ponder the ideas put forth by this story, the more you are likely to appreciate "The Killing Joke". An outstanding achievement in storytelling any way you look at it.

I was tempted to knock this down to four stars because with this book you are buying a single issue of a comic for what you could easily pay for a full trade paperback or graphic novel of equal quality like, say, Frank Miller's The Dark Knight Returns, which is so good it may very well cure cancer (can you prove it doesn't?). But the fact is no Batman fan should be without "The Killing Joke" and I would rather stick to reviewing based on quality rather than haggling over price. The bonus story at the end (written and illustrated by TKJ artist Brian Bolland) is a killer little mini-comic that serves as a perfect companion piece to the main story and definitely sweetens the pot for those wondering if they should get this hardcover edition. "The Killing Joke" is an absolute mindless must-have for fans of the comic book medium and even more so if you claim to be a follower of The Caped Crusader or his twisted nemesis. End of story.


The Worst Alan Moore Work - Even He Says So!   May 11, 2004
 23 out of 34 found this review helpful

As you can see from nearly every other review here, this work is generally considered a classic - if not one of the all-time best Batman stories, up there with those Frank Miller ones. I disagree. And I disagree reluctantly because Alan Moore's writing is actually very clever and Brian Bolland's artwork is simply gorgeous. Why? Simple. I disagree with nearly everything about Alan Moore's "Batman". Frank Miller mentioned something like that in an interview also. Even Alan Moore has stated countless times that this is his weakest work. But fans still clamour after this book...

Five reasons I dislike this book:

[1] Batman is totally wrong. It seemed like the pet-peeve of every cynical Brit writer in the 80s and 90s to portray Batman as equally insane compared to his foes [check out Grant Morrison's "Arkham Asylum" for more of the same].

[2] The hopeless ending. Agreed, this book has the Joker at his most evil and the book ends with Batman and Joker laughing in the rain?

[3] The level of *sick* shocks in this book. From Barbara Gordon's crippling to Jim Gordon's "circus" experience. This was written at a period where shocking violence in comics is considered a prerequisite in crafting a "mature" work. Granted, I actually prefer Barbara as Oracle than the cheesy Batgirl but I absolutely detest the way Alan Moore did it in this book.

[4] The totally unnecessary "origin" of Joker. Joker is one of those characters in comics who really can do without an origin. He is a sicko, and that's all you need to know. We do not need to see him from a more compassionate perspective by having a "tragic origin".

[5] The use of "Watchmen-transitions". Alan Moore is justly famous for the use of clever transitions between panels. But in this book, we have transitions such as a poster of a fat woman freak in a circus leading to the next panel of Joker's pregnant wife. Where's the catch? This is the real problem of the whole work - clever but ultimately pointless.


Pretentious, gratuitous, and shallow   January 28, 2005
 23 out of 54 found this review helpful

Yesterday I gave this trade paperback a second read, and I can't say it changed my first impressions. As a Bat-fan, I picked up the book because it contains an important moment in Bat history, central to the story of a character I care about. /Batman: The Killing Joke/ is the storyline in which the Joker paralyzed Barbara Gordon, former Batgirl -- a constraint that eventually led to her becoming ueberdecker to the hero world, Oracle.

I've bought some fairly cheesy trade paperbacks in the name of Bat history lessons -- /Batman: A Lonely Place of Dying/, for example, is the story of how Tim Drake becomes Robin, and it's dripping with cheese and earnestness. I can cope with cheese (see my enjoyment of 70's X-Men) but there's something about /The Killing Joke/ that really rubs me the wrong way. It was written by Alan Moore, one of the two "dark" writers of the 80's, who shocked the comics world out of its idyllic 70's fluff and into grittiness. The other was Frank Miller. And while it's obvious that Frank Miller has dark thoughts and muses far too much on sex with Wonder Woman, it's equally obvious that Frank Miller loves superhero comics. Alan Moore, I have read and I now believe, hates superhero comics.

I omit my summary of the plot of the book, out of respect for Amazon's no-spoiler guidlines, but you aren't missing much; a linear plot with no real twists or surprises, or acts of astounding intelligence or fortitude by our hero. The only thing that enlivens the very twistless story is the counterpoint of a possible creation story for the Joker, where he's a loser stand-up artist who can't get a gig, tries one night of crime to support his pregnant wife, etc. The creation story is a little more interesting than the rest of it, but it's a little more set in stone, a little more definitive, then I've ever seen DC let anyone do for a Joker story. He's SUPPOSED to be mysterious -- an image of the madness that can be birthed without reason from man. Except for "he fell in a chemical vat", there is no bottom line on this man, and this weak explanatory backstory detracts from the Joker mythos, it doesn't add to it.

The story lacks emotional punch where it needs it -- the crippling of a major ongoing character, for heaven's sake, and Gordon finding the resolve not to snap in the face of this 'sophisticated' psychological torture -- and, in fact, seems emotionally illogical. Gordon doesn't ask Batman whether Babs is ALIVE when he's rescued. The fiercely protective Batman, after never laughing at a single thing the Joker has ever said (I mean, that's part of why Mr. J hates him!), laughs at a mediocre joke he tells after nearly killing Batgirl. Are these human beings? Flatly, no they aren't. They're mouthpieces for Moore's shallow conceits -- "one bad day makes people insane, in different ways," and "the world is so awful you just have to laugh" -- and the only thing they show any commitment to is disputing those overblown theories.

On top of that, the story makes no LOGICAL sense, something I am more than happy to overlook in a comic book, provided something else -- emotional punch or comedic value -- fills the void. Who was the guy in the Joker suit in Arkham? Where did the Joker get the money to buy the amusement park, or, for that matter, to outfit it with vast flat-screen displays and deadly traps within a few days? Where did the Joker find so many sideshow freaks who like to hurt people? And finally, when did bondage dwarf minions become part of Joker's schtick? Joker is, Jack Nicholson aside, an asexual villain (please see Harley Quinn's sexual frustration for details.) Stripping Babs for the pictures, naked Gordon leashed by bondage minions, et cetera, are Alan Moore saying, "Ooh, I'm so BAD!" NOT anything the Joker would do.

In short, I do believe Alan Moore hates superhero comics. And as Lana said on Smallville once, "If you hate your job so much, why don't you just quit?"

Bottom line:
Pretentiously "meaningful" and pretentiously dark, not to mention painfully 80's. Characterization shallow and perfunctory, story trite and unexciting. Pictures okay -- a few very good Joker portraits.