"You can reach out of this cell and kill at will. And I can’t stop you. You proved your point. Let her go."
Batman is racing to find a little girl who has been tied up, thrown in the trunk of a submerged car and hooked up to an oxygen tank that’s about to run out. The story jumps back and forth from that battle to get the girl to mere minutes beforehand when Batman breaks into the Joker’s cell at Arkham Asylum. Batman has it in his head that the Joker is somehow involved though he’s been locked safely away for some time.
The two have a back and forth that feels very much like Silence of the Lambs. The Joker wants to play and Batman, seeing there’s nothing he can do to force Joker to talk, must begrudgingly agree. As the two continue to talk, Batman begins to unravel how the Joker did it. The man responsible for the girl’s kidnapping and possible murder was in the cell next to the Joker’s. Through a very clever form of communication, Joker manages to infect the man’s mind. Upon his release, the man hides his daughter in the trunk, sinks the car and kills himself but not before alerting the police, and thereby Batman, to the situation.
Eventually, the Joker gets bored and divulges the location of the girl, telling Batman:
"This isn’t fun anymore."
Of course Batman finds and rescues the girl in time but it is when he returns to ask Joker why he just offered up the information that we discover the Joker’s evil intent. He explains that he knows Batman very well and knows that he’ll always approach a hostage situation assuming the victim is dead. He knows Batman never allows himself to hope.
"Oh, sure you do everything you can to save them because that’s you. But you don’t really dare hope, do you? After tonight though…you’ll never be able to do that again. Will you?"
So, Joker wins that one. Chuck Dixon wrote this issue and his veteran status in the industry is apparent. He manages to add a new layer to a hero/villain scenario that so few have been able to do. Balancing the conversation set piece in the cell to the action sequences of Batman fighting to get to the girl by jumping back and forth creates a real sense of urgency.
Brian Stelfreeze’s art is, as always, awesome. I wish he’d draw ten books a month. All of his compositions seem to contain nothing but triangles and hard lines. His take on Batman is one of my favorites, it’s almost as if you could prick your finger on one of his "ears". It’s a fantastic issue, almost always overlooked.
There is very little dialogue in this issue, most of the talking is Batman’s internal monologue. Good thing then, that the issue (and entire run of the larger arc) was written by Jeph Loeb, a master of the "thought bubble". Loeb takes us into Batman’s head as he convinces himself to finally kill the Joker. In Batman’s linear, logical way he goes through each event for which the Joker should have already died. You find yourself reading and beginning to agree, there is no other answer but death. You almost begin to worry about the Joker.
Uber-artist Jim Lee penciled the issue gorgeously and reminds us why he’s the industry’s best. The cross-hatching, the deep shadows, the impossibly-thin line work is electric. But in this issue it’s Batman’s flashbacks of the Joker’s most horrid crimes that Lee painted in watercolor which are most effective. The memories are so vivid that we feel how much they must eat away at Bruce.
"There is nothing I can do to him that would cause him the agony that he has brought upon others. But I can come close."
At a certain point, Catwoman shows up to stop Batman from doing something she knows he’ll regret. So determined is he that he exploits a gunshot wound in Catwoman’s shoulder and knocks her out. He assures himself that she’ll understand later. Ultimately, Joker find salvation at the hands of the one man he took the most from, one of Batman’s oldest friends. This friend insists, by firing a gun at Batman no less, that killing Joker would make Batman no better. He explains that sometimes the law fails us but there’s a line that cannot be crossed.
"How many more lives are we going to let him ruin?"
"I don’t care. I won’t let him ruin yours."
So while the Joker definitely doesn’t win this one, he still manages to cheat death until another day. What makes this issue so important to the two characters is the reminder of how inextricably linked they are, chaos and order, black and white, good and evil. Theirs is a dance until the end.
"The Joker will yet have the last laugh!"
The title says it all, their first confrontation in the first issue of Batman’s own ongoing book. The Joker started here and would keep appearing in incarnation after incarnation with his nemesis Batman until this day. When we first meet the Joker, there is no backstory given whatsoever, adding to his mystique and the overall frightening nature of the demented clown. Right off the bat, the Joker is announcing a murder he will commit at midnight that night, with little care for the police or the strange figure of the night "Bat-Man".
The Joker makes good on his promise and murders the man. He announces another daring murder and is successful in that endeavor as well. By the end of the issue, the Joker has managed to kill four prominent members of Gotham society. Three of the four die with a smile involuntarily stretched across their faces. That’s exceedingly creepy now; think of how bad it must have been before the second World War. It’s not until he kidnaps a snooping Robin that Batman is able to track him down. After holding his own against the Dynamic Duo, the Joker is overcome by their fighting prowess and thrown in jail but he vows to escape.
This story was drawn by Batman’s credited creator Bob Kane and the Joker’s credited creator Jerry Robinson, the art was at its peak for comics in that day. We wouldn’t think much of it now, but for two guys churning these stories out in a week, it’s damn good. The tale was written by Bill Finger, a man many feel had a very large role is the development of Batman and his rouges gallery but never really got the credit he deserves. His story is grim, violent and deliciously melodramatic.
I like to think about these three men and what they were thinking while putting this together. Did they have any inkling of the impact they’d have on history, of the billions of dollars that would be made, of the legions of die-hard fans that would follow their odd creation their whole lives? "Little did they know…" is the appropriate phrase I suppose.
On a side note, this is a page from the story. In the middle row look at the panel on the right.
"Why does everyone keep talking to me about stamps?"
This is one of my favorite comics to read over and over again. The premise is simple; The U.S. Postal Service releases a series of stamps depicting the great comedians of all time, the Joker is not included among them. This sends the Joker, obviously, into a homicidal rage. He takes a post office hostage and demands appropriate recognition for all the smiles he’s given the world. In no time, Batman and Robin arrive and stop his spree. He is arrested and the Gotham legal system prepares to send the Joker on another trip to Arkham.
That is, until, a fearless, young, assistant D.A. convinces the department to reject the usual incompetency plea and try and nail him with multiple murder one counts and go for the death penalty. It seems that there are poisoned stamps all over the country. People licking them are dying instantly with the Joker’s trademark rictus grin. It has the Clown Prince of Crime’s signature all over it. The only problem is, he may not be responsible for the stamps. The trial moves forward and there is a media frenzy. The Joker attempts to intimidate everyone in the courtroom while the A.D.A. makes the trial more about all of the Joker’s past crimes and his utter pride in them, rather than the stamp murders for which he is on trial. All the while, Batman’s unquenchable thirst for truth goes unabated. He and Robin begin their own investigation into the murders and it becomes more and more apparent that the Joker is innocent…not that he cares.
Eventually the Joker is found guilty and sentenced to death. As Batman gets closer and closer to being able to prove the Joker’s innocence he has to ask himself if he should. The question of law vs. justice is put under the microscope as well as Batman’s possible responsibility for everything the Joker has done.
"Justice cuts both ways sometimes. Everyone pays for their crimes. One way or another."
Chuck Dixon makes his second appearance on this list and it’s even better than the first. This story is like Batman meets Law and Order. Add to that it’s very funny. He does a wonderful job of making the Joker hilarious and in the next heartbeat, terrifyingly deranged. Graham Nolan’s pencils are streamlined and his panel arrangement flows seamlessly. That says nothing of his compelling facial expressions which are perfect throughout the whole book. So does he die? Escape? It’s worth the read.
Our final piece is the final chapter in a giant, year long crossover story. Gotham City has been ravaged by an earthquake. Deemed uninhabitable, the city is cut off by the U.S. government, giving its residents a deadline to leave. Anyone left behind would be trapped in a No Man’s Land. Of course both the angels and demons stay behind, staking claims and dividing up what’s left of Gotham while reigning over the citizens left there. Batman, his team of vigilantes, Commissioner Gordon, and every good cop left in Gotham attempt to bring the city back from hell while Two-Face, The Joker, Penguin and others attempt to take the ruined city for themselves.
The end of the story takes place on Christmas Eve. Having learned that the government’s No Man’s Land policy may be ending with the start of the new year, the Joker makes his move. He eliminates the competition and nearly kills Batman’s ally the Huntress. His ultimate plan is to kill every infant born in Gotham City since No Man’s Land began.
Ultimately, he plans to murder hope. Announcing his intentions to the last of Gotham’s heroes, they fan out around the ruins searching for the babies and the Joker himself. But the Joker is one step ahead of everyone and waits for the time to be right. While the manic search continues, Gordon’s wife (also a cop) informs her husband that her walkie-talkie is broken. Not wanting a breakdown in communication to occur, Gordon tells his wife Sarah to head back to police headquarters to get a new one. Guess who is waiting there with thirty-six infants?
When Sarah gets there, she finds the Joker standing amongst the children, cradling one infant in his arms. Sarah draws her gun and demands Joker put the child down. Joker then draws his own pistol and holds it to the baby’s head. Sarah continues to attempt to force the Joker to let go of the infant. He begins to talk, trying to scare her, confuse her and then he tosses the crying baby at Sarah. She drops her gun and rushes to catch it, she does. As she kneels on the floor and cradles the baby safely, the Joker puts his gun to her head says "Merry Christmas." and pulls the trigger. He leaves her body amongst the children, walks out and simply surrenders.
So does it work? Does the Joker win? Well, again I feel the ultimate ending is too good to spoil. But I can tell you, either way it’s up to you to decide.
"We’ve all gone too far. Look at them. Look at us. They can’t take anymore. It’s time to bring our people back Jim."
Both the writing and artistic duties were split. Greg Rucka and Devin Grayson scripted it and Damion Scott and Dale Eaglesham provided the interiors. There isn’t much to say about the story itself other than how perfect it is. The pacing is perfect, the urgency is palpable and the ultimate payoff is ambiguous. While Dale Eaglesham’s art has become much better and more sought after these days, it feels rushed and sloppy here.
Scott’s on the other hand is an odd fit. I call it odd because his style could be described as cartoony but the subject matter he tackles here is still shocking and vibrant. Flipping from one artist to another within the same book can be very jarring but Rucka and Grayson’s story is strong enough to look beyond that. They give us one of the Joker’s most evil moments and show us an emotionally exhausted Batman, reminding us of the human being under the cape and cowl.
This is one of my favorite comics to read over and over again. The premise is simple; The U.S. Postal Service releases a series of stamps depicting the great comedians of all time, the Joker is not included among them. This sends the Joker, obviously, into a homicidal rage. He takes a post office hostage and demands appropriate recognition for all the smiles he’s given the world. In no time, Batman and Robin arrive and stop his spree. He is arrested and the Gotham legal system prepares to send the Joker on another trip to Arkham.
That is, until, a fearless, young, assistant D.A. convinces the department to reject the usual incompetency plea and try and nail him with multiple murder one counts and go for the death penalty. It seems that there are poisoned stamps all over the country. People licking them are dying instantly with the Joker’s trademark rictus grin. It has the Clown Prince of Crime’s signature all over it. The only problem is, he may not be responsible for the stamps. The trial moves forward and there is a media frenzy. The Joker attempts to intimidate everyone in the courtroom while the A.D.A. makes the trial more about all of the Joker’s past crimes and his utter pride in them, rather than the stamp murders for which he is on trial. All the while, Batman’s unquenchable thirst for truth goes unabated. He and Robin begin their own investigation into the murders and it becomes more and more apparent that the Joker is innocent…not that he cares.
Eventually the Joker is found guilty and sentenced to death. As Batman gets closer and closer to being able to prove the Joker’s innocence he has to ask himself if he should. The question of law vs. justice is put under the microscope as well as Batman’s possible responsibility for everything the Joker has done.
"Justice cuts both ways sometimes. Everyone pays for their crimes. One way or another."
Chuck Dixon makes his second appearance on this list and it’s even better than the first. This story is like Batman meets Law and Order. Add to that it’s very funny. He does a wonderful job of making the Joker hilarious and in the next heartbeat, terrifyingly deranged. Graham Nolan’s pencils are streamlined and his panel arrangement flows seamlessly. That says nothing of his compelling facial expressions which are perfect throughout the whole book. So does he die? Escape? It’s worth the read.
Our final piece is the final chapter in a giant, year long crossover story. Gotham City has been ravaged by an earthquake. Deemed uninhabitable, the city is cut off by the U.S. government, giving its residents a deadline to leave. Anyone left behind would be trapped in a No Man’s Land. Of course both the angels and demons stay behind, staking claims and dividing up what’s left of Gotham while reigning over the citizens left there. Batman, his team of vigilantes, Commissioner Gordon, and every good cop left in Gotham attempt to bring the city back from hell while Two-Face, The Joker, Penguin and others attempt to take the ruined city for themselves.
The end of the story takes place on Christmas Eve. Having learned that the government’s No Man’s Land policy may be ending with the start of the new year, the Joker makes his move. He eliminates the competition and nearly kills Batman’s ally the Huntress. His ultimate plan is to kill every infant born in Gotham City since No Man’s Land began.
Ultimately, he plans to murder hope. Announcing his intentions to the last of Gotham’s heroes, they fan out around the ruins searching for the babies and the Joker himself. But the Joker is one step ahead of everyone and waits for the time to be right. While the manic search continues, Gordon’s wife (also a cop) informs her husband that her walkie-talkie is broken. Not wanting a breakdown in communication to occur, Gordon tells his wife Sarah to head back to police headquarters to get a new one. Guess who is waiting there with thirty-six infants?
When Sarah gets there, she finds the Joker standing amongst the children, cradling one infant in his arms. Sarah draws her gun and demands Joker put the child down. Joker then draws his own pistol and holds it to the baby’s head. Sarah continues to attempt to force the Joker to let go of the infant. He begins to talk, trying to scare her, confuse her and then he tosses the crying baby at Sarah. She drops her gun and rushes to catch it, she does. As she kneels on the floor and cradles the baby safely, the Joker puts his gun to her head says "Merry Christmas." and pulls the trigger. He leaves her body amongst the children, walks out and simply surrenders.
So does it work? Does the Joker win? Well, again I feel the ultimate ending is too good to spoil. But I can tell you, either way it’s up to you to decide.
"We’ve all gone too far. Look at them. Look at us. They can’t take anymore. It’s time to bring our people back Jim."
Both the writing and artistic duties were split. Greg Rucka and Devin Grayson scripted it and Damion Scott and Dale Eaglesham provided the interiors. There isn’t much to say about the story itself other than how perfect it is. The pacing is perfect, the urgency is palpable and the ultimate payoff is ambiguous. While Dale Eaglesham’s art has become much better and more sought after these days, it feels rushed and sloppy here.
Scott’s on the other hand is an odd fit. I call it odd because his style could be described as cartoony but the subject matter he tackles here is still shocking and vibrant. Flipping from one artist to another within the same book can be very jarring but Rucka and Grayson’s story is strong enough to look beyond that. They give us one of the Joker’s most evil moments and show us an emotionally exhausted Batman, reminding us of the human being under the cape and cowl.
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