In Batman: The Three Jokers, Geoff Johns sets out to answer a mystery, that he set in motion several years ago during the climactic story arc of his Justice League run. In the story, Batman interfaces with an alien super computer called The Mobius Chair, that can answer any question in the universe, no matter how seemingly impossible the question may be . One of the questions Batman asked was, “What is The Joker’s true name?”. Through it’s omniscience, The Mobius Chair gave an answer that threw even The World’s Greatest Detective for a loop: There are 3 Jokers. This three issue miniseries sets out to finally answer the mystery of The Three Jokers. I’ve read the first issue and while it answers some questions, it leaves us with even more.
There is no doubt that DC has two of their absolute best creators working on this book. There are very few comic book writers who have had the level of influence on modern comic books in the way that Geoff John’s has. With very few exceptions, there isn’t a major character in DC Comics that he hasn’t left his mark on. His enormous talent and impact on comic book storytelling, put him in rarefied air among legends like Stan Lee and Frank Miler. Geoff Johns is without a doubt one of the best superhero writers in the medium. No one does big, epic storytelling like Geoff Johns. Yet for some reason, he has always, in my opinion, struggled when writing Batman. Don’t get me wrong, even some of his weakest stories have fun and interesting elements at play. Despite any criticisms about his writing that I may have, John’s never fails to deliver an entertaining story.
Then there’s artist Jason Fabouk, who’s done some of the best superhero artwork I’ve ever seen in “The Darkseid War”, one his previous collaborations with Geoff Johns in the pages of Justice League. In a comic book, the storytelling done through the artwork is just as important, sometimes more so, than the storytelling being done in the script. It’s one of the things that makes the medium so unique. This issue opens with an exceptional example of how vital a fantastic artist is to telling a great comic book story. The issue begins with a close-up, on a large “W” engraved in stone. As the image pulls out, we see that this is the grave of Thomas Wayne. Surprisingly, the Batmobile suddenly crashes into it, partially destroying the gravestone. A seriously injured Batman emerges from the vehicle and stumbles towards Wayne Manor. A flurry of bats eventually reveals the Batcave. Filled with Batman‘s equipment and trophies, old costumes of allies and enemies. Finally, we see Alfred. Steady. Always there. We see both men from behind, as Alfred hauls Bruce in an improvised shoulder carry. Holding up his son, as Batman struggles to make it to the medical area. In a wavering voice Bruce says “My parents…” Referring to the gravestone he crashed into moments before. Again, Alfred steady as ever replies “I’ll fix their markers as soon as I fix you.”. Piece by piece, Batman‘s armor is removed, Alfred using surgical tools to remove parts of the uniform to get at Bruce’s wound, so Alfred can begin to treat whatever Bruce has suffered from this time.
Alfred begins to treat a puncture wound in the side Bruce‘s torso. “What was it this time?” Alfred asks. “An umbrella” Bruce replies. The image pulls back again, Bruce is naked from the waist up, with his back turned to the reader as Alfred begins stitching his latest wound. The image is stunning. What makes the artwork so powerful Is the dozens, maybe even hundreds of other scars and burns covering Bruce’s body (and we can only see him from the back). This is a grim ritual these two men have gone through together far too many times..Each scar is a dark reminder, a souvenir, of the nightly torture Bruce Wayne subjects himself to.
However, despite all the monsters he fought in the night, only one has left more scars than any other. Both on the inside and out. The Joker. As Bruce recalls each battle, each fight with The Clown Prince of Crime, the monsters horrifying laughter builds in his head until, for the first time in the story, we see Bruce’s eyes. And they are filled with fury… and something more, something dark.
Regardless of any criticisms that I may leveled at other aspects of this comic book, the art by Jason Fabouk is incredible. There are many amazing artists out there, who draw stunningly beautiful images, but it takes more than that to be an excellent comic book artist. A comic book artist is a storyteller just like the writer. The analogy I like to use, is that a comic book artist needs to be the director, the actors, the cinematography, and the editor all wrapped in one. Like a director they need to set up every image, the angle, what will be in the shot, etc. like a cinematographer they have to establish the look and visual tone of the story, and like an actor they need to convey all of the subtle emotions of every character in the story. An artist who can do all of that well and still make every image absolutely beautiful, is less common in the industry than you might think. I think somebody like the late, great Steve Dillon (Preacher, The Punisher) is a great example of an artist that was incredibly gifted at storytelling and conveying complex array of human emotions. With this comic, I think Jason Fabouk has taken his first step into becoming one of the most elite comic book storytellers in the business. The work on display here is some of the best visual storytelling I’ve seen in a comic book in a long time.
With that out of the way, what do I think about the comic? I think there are two major issues that ultimately plague this story. First, the problem with telling a story like this, is that part of what makes The Joker so terrifying and so fascinating is that he doesn’t have a definitive origin. Sure, there have been hints over the years. Possibilities of who or what he was before he became The Clown Prince of Crime. Writers like Alan Moore, Scott Snyder, Bruce Timm,and Paul Dini have all played with possible origins for The Joker. These stories worked because none of them were the character’s definitive origin. It was left ambiguous, the writers placed doubt in the minds of fans about how much of these possible backstories actually happened. Was any of it real? Even the recent JOKER film starring Joaquin Phoenix as Arthur Fleck/The Joker, made the audience question exactly how much of the films events actually took place and how much of it was all in Arthur’s head
The questions at the heart of this story are: How are there three Jokers? What does that even mean? Are there literally three different men, who have been The Joker over the years? What is the answer to the mystery of The Three Jokers? At least for me, the answer to that question is: I don’t fucking care. I would’ve been perfectly happy if DC never picked up this storyline again. In the JL story written by Geoff Johns that kicked this whole thing off, Batman asks the all-knowing Mobius Chair “What is The Joker’s true name?”. The chair replies and Batman is visibly shocked and disturbed by what he hears. He can only respond “That’s not possible“. On its own, that’s a cool moment. What the fuck did The Mobius Chair tell Batman? The Joker is already a character shrouded in mystery and darkness and this was a powerful and creepy moment. I think if it was left alone by DC, this could have been an intriguing addition to The Joker’s mythology. A question we’ll never get the answer to would’ve been so much more interesting to readers, because the unknown is always so much scarier than anything a writer can cook up.
To talk about my second major criticism of this story so far, I’m going to be discussing a pivotal scene in depth as an example of a larger concern I have with the project. So MAJOR, MAJOR SPOILER WARNINGS for the rest of the review!!!
Ok, still with me? Great. So, when Jason Todd AKA The Red Hood finally blows The Joker’s brains out, I thought: “About damn time!”.
You see, a common misconception is, that Batman has always adhered to a strict moral code, that kept him from ever taking a life. It’s important to point out that when Batman was created by Bill Finger and Bob Kane (It was actually MOSTLY Bill Finger, but Bob Kane gets all the credit). Batman‘s so-called “no kill“ rule, didn’t come from a creative decision by one of Batman’s creators. It came down as an editorial mandate from DC Comics. The Joker was originally supposed to die in his first appearance, but the character was so popular that the creators working on Batman at the time had to come up with a way for Joker to return. Batman couldn’t go around killing the entirety of what would become his whole rogues gallery! Of course this early version of Batman would kill The Joker! For a man willing to take a life, this was the exact situation where you take someone off the board. It was a way to keep Batman’s popular villains returning to the story. Another factor was that DC comics wanted to attract younger readers. Which was why Robin was introduced and Batman’s homicidal edge was softened. The hard-hitting, gritty, noir stores told in Batman’s early days, made way for more colorful and family friendly content.
So when someone tries to convince you that Batman never kills because of a deep moral belief in the sanctity of life, you can say that’s bullshit, he doesn’t kill because the publisher wanted to make more money by having more readers and reoccurring, colorful villains. From the very beginning of Batman‘s career, he had no compunction about killing criminals. Batman even carried a gun in many of his earliest appearances. Many of the unfortunate thugs he came across found them selves with a bullet in the chest, thrown into a vat of acid, or strangling a man with a steel cable attached to The Batplane and flying through Gotham with the corpse still hanging from The Batplane. While Batman muses that the villain is “better off this way“. In fact here are some fun instances of Batman straight up murdering people…
Which is why I find it so frustrating that certain writers, like Geoff John’s in particular, treat Batman‘s “no kill“ rule is if it was a sacred and fundamental part of the character’s ideology. It wasn’t a creative storytelling decision, it was a marketing one. Most of the other vigilantes in Gotham City have been trained by Bruce or work closely with him, so they also adhere to same, foolish “no kill” rule (with some notable exceptions). So when writers like Geoff John’s put Batman or one of his allies, in this case Barbara Gordon AKA Batgirl, in positions where all logic, emotion, and reason would lead to their character taking a life, the writers will go to extraordinary lengths to find reasons for their so-called heroes not to go through with it. This doesn’t make the heroes noble, it makes them look foolish and naïve. I’m not saying that Batman and his allies should start acting like The Punisher, but in extreme circumstances, extreme measures are appropriate. Unless a writer is willing to honestly tackle some potentially uncomfortable questions about his characters, then perhaps it’s a subject that is best left alone. If you’ve been successfully crime fighting crime in a cesspool like Gotham City for years, you’ve probably seen some of the ugliest things that humanity has to offer. Which is why it makes no sense that someone like Barbara Gordon, an intelligent, worldly, capable, and very tough woman would attempt to stop Jason Todd from murdering The Joker. The amount of suffering that The Joker has personally inflicted on Barbara and her family includes crippling and sexually molesting her, torturing her father, murdering her stepmother, and has killing literally thousands of people. Including successfully murdering Jason himself. Even though Jason eventually came back from the dead, as Jon Snow would tell you, that isn’t some shit you just forgive. For Barbara to feign outrage when The Joker is killed, is just silly and poor writing. However, I did enjoy what Jason says to Barbara after kills The Joker, posted below…
I’ll definitely read all 3 issues of Batman: The Three Jokers, but It’s mostly out of sense of obligation. New comic books come out each week and I still read every issue of my favorite ongoing titles. Batman is my favorite comic book character, so for better or worse, regardless of how this story ends it’s going to have a major impact of some kind on the Batman mythology. For that alone, I’d read all 3 issues just to see how it all plays out. That’s not exactly a ringing endorsement, especially if you don’t read comics every week like I do. I’m certain that DC is trying to attract new readers with a high profile book like this. In that regard, I suppose Three Jokers is successful. Most of my problems with the book were rooted in my long personal history with Batman and how I think the character and his world should be portrayed. As well as certain longtime comics books tropes present in the issue, that drive my nuts whenever they pop-up in a story. New readers might be the ideal audience for this comic book, even with my criticisms, it’s an undeniably entertaining book with beautiful art. Casual Batman fans wouldn’t bring as much baggage to the story as I did and it really only requires a basic knowledge of Batman and The Joker to follow what’s going on.
In a vacuum, taken for what it is, Batman: The Three Jokers is pretty good read, but it fails to justify it’s own existence. This new miniseries suffers because of some poorly written characters and will leave a lot of readers questioning why this story needed to be told in the first place. On the other hand, The Three Jokers is a solid book for casual readers and the art work by Jason Fabouk is gorgeous.
Batman: The Three Jokers #1 – 6.5/10
Tonight the final season of Gotham premiered on Fox and honestly I was very excited to watch it. It’s hard to believe that this is the same show that just a few years ago had some of the absolute worst superhero writing on TV. When Gotham began, it was more or less a shittier Smallville, with proto-versions of Batman’s rogues gallery popping up each week for Ben McKenzie’s Jim Gordon to deal with. It was a shame because the show was very well cast and all the actors were perfect in their roles. Since the very first episode, Ben McKenzie has made a great Jim Gordon (he was also the voice of Batman in the animated film adaptation of Batman: Year One). Many of the great Batman stories are also great Jim Gordon stories, so it was very important for them to get this character right.
We even got to see a part of Bruce Wayne’s life that is very rarely explored, the years immediately following the murder of his parents. David Mazouz is easily one of the most compelling live action versions of Bruce Wayne we’ve seen. He conveys Bruce’s dark, brooding intelligence without ever sounding like a whiny brat. With excellent actors memorably playing classic Batman characters like Alfred, The Penguin, The Riddler, Selina Kyle and more, the series felt like a frustrating waste of great talent. Terrible writing hamstrung what could otherwise have been an excellent take on the Batman mythos.
About halfway through Season 3, specifically the mid-season finale, something fundamentally changed about the show for the better. I think there are two big reasons for this and one of them was how the series began to use Bruce Wayne. First of all, David Mazouz had grown up enough that he was just old enough to start becoming more crucial to the action going on in the story. Pretty much from the pilot on, Bruce has slowly been learning important skills that would become crucial on his journey to becoming Batman. Season 3’s mid-season finale saw Bruce being taken hostage at a circus by Jeremiah Valeska. If you’re not familiar with Gotham, Jeremiah (played by Cameron Monaghan) is basically their version of The Joker, and a damn good one too. The episode culminated with a show down in a hall of mirrors between Bruce and Jeremiah, where Bruce comes very close to killing Jeremiah. The whole episode was pretty great and I found myself watching the rest of the season once the show returned from it’s hiatus. You started to see Bruce take a more active role as a vigilante even though he wasn’t dressed like Batman.
The second reason the series changed for the better in my opinion, was because it stopped being a bad prequel series, building up to some day in the future where we get to see Bruce put on the Batman costume in the last 5 minutes of the final episode. In the same way that Smallville was entirely built around the show teasing Clark eventually putting on the Superman costume, that we only see him wear for about three seconds in the series finale. Instead, Gotham became more of an Elseworlds Batman story. I think it’s the smartest thing the show could’ve done because they took the mythology and made it their own. They were no longer slaves to the mythology of the Batman comic books. They allowed their story to be an alternate take on the mythos. This choice gave the show its own identity. It also made it more exciting for the audiences because things weren’t necessarily going to play out exactly as they had in the comic books. As a result the back half of Season 3 was a hell of a lot of fun and frankly I love Season 4. One of the reasons I love the show Krypton on Syfy is that the show isn’t a prequel, it’s more about the DC Universe’s past being changed by time travel. Changing Krypton‘s history, changes the history of the entire Superman story and by extension the entire DC Universe.
So coming into this final season, which was going to be drawing from classic Batman stories like No Man’ Land and Zero Year (In fact this episode’s title is “Year Zero”), I was pretty psyched to see what they were going to do. I’m happy to say I wasn’t disappointed.
After the events of last season, Gotham has been completely cut off from the outside world. The bridges are down in the city and it’s been 87 days since Gotham was officially declared a No Man’s Land by the US government. Unfortunately, not everyone who wanted to had the means to leave the city before it was cut off from the rest of the world. Children, families, innocent people have been trapped in a city that has become an almost post-apocalyptic dystopia. Gotham’s been carved up into territories, with different factions controlling different neighborhoods. Penguin Control City Hall and the surrounding area. He’s also the only person in the city manufacturing bullets for guns, which are more or less currency in the city. Scarecrow, Firefly, Mr. Freeze, Poison Ivy, and other villains have also carved up their own peace of the city. Somewhat ominously, Jerimiah Valeska hasn’t been seen since the beginning of No Man’s Land. I have a feeling he’s waiting to make his own suitably dramatic entrance.
The only part of Gotham City for the average citizen who’d been left behind is the area controlled by the GCPD. Gordon with Bullock and Lucius Fox by his side, are not only leading what’s left of the GCPD, they’re also protecting and feeding hundreds of refugees and supplies are running out. A lot of this is straight out of some iconic Batman storylines, so as a longtime Batman comic book fan this is cool to see.
Fortunately, Bruce Wayne and Alfred decided to stay behind as well and Bruce is doing everything he can to get supplies smuggled in. Not only to the people suffering in the city, but medicine for Selena Kyle as well. She was shot in the stomach at point-blank range by Jeremiah in the season finale last year and unless something drastic is done she could be paralyzed from the waist down for the rest of her life. Of course this heavily weighs on Bruce, who blames himself for her condition.
Part of the fun of this season is seeing how close Bruce is to becoming Batman, even though he isn’t ready yet. There’s an early scene where Bruce takes down a bunch of thugs trying to steal medical supplies. The power has gone out, so he uses night vision goggles courtesy of the Lucius Fox to take them out one by one, in very Batman fashion. However, just when it looks like he’s saved the day, the lights come back on, the night vision goggles blind him, and the thieves get away. This is an important scene because it shows us that while Bruce is well on his way to becoming The Batman that we know, who could’ve easily taken down a group of bad guys in a situation like this, but he’s not quite there yet. He’s still making crucial mistakes and he still has much to learn. It’s important the series didn’t just suddenly turn him into Batman over night. Bruce’s journey throughout the series has felt earned. Based on his training it makes perfect sense for him to be exactly at the level he’s at now.
The episode largely sets up the status quo for the season and puts the pieces in play for things to come. We know things are going to get a lot worse before they get better because the episode opens with a flash forward to No Mans Land Day 391 and shows Gordon, Bullock, The Penguin, The Riddler, and the rest of the GCPD fending off a full blown siege by… someone. For Penguin and The Riddler to be teaming up with Gordon, it must be a pretty serious common enemy.
All in all I really enjoyed this episode and considering that it was mostly set up, I have a feeling once the story really gets going this has the potential to be a fantastic final season for Gotham. I couldn’t help but love the scene when Gordon and Bruce were standing on the roof of the GCPD together. With Gordon shining a spotlight on the sky to give people hope, foreshadowing so many of their interactions in the years to come. As Bruce walks away at the end of the scene, Gordon ask him if he regrets staying behind in Gotham, Bruce replies “No. You?”. Jim Gordons smiles and says “Hell no”. Am I looking forward to the rest of Gotham’s Final Season? Hell, yes.
Gotham (Season 5) “Year Zero” – 8.5/10
Thanks for reading!
Remembering Batman & Mr. Freeze: Subzero
When fans look back at the Batman movies that took place in the same universe as the wonderful Batman: The Animated Series, they most likely remember the fantastic Batman Beyond: Return of The Joker or the classic Batman: Mask of The Phantasm. As of last summer, we can add 2017’s Batman and Harley Quinn to the list, but unfortunately that movie sucks.
However, there’s a hidden gem that a lot of people forget about; Batman & Mr. Freeze: Subzero. This was a direct to video animated film taking in the BTAS Universe that came out in 1998. No doubt hoping to capitalize on the Mr. Freeze buzz in that was in the air after Arnold Schwarzenegger’s heartbreaking, Oscar winning performance in the critical darling and mega hit, Batman & Robin. Oh wait, I forgot the movie was explosive diarrhea and killed the Batman live action film franchise for nearly a decade. I’m sure there’s an alternate reality out there where it was The Dark Knight of it’s day.
But I think that was definitely the intention. Animation takes longer than live action to produce especially in the 90’s. Even though this came out in 1998, it must have started production a few years earlier. So Warner Bros. probably thought Batman & Mr. Freeze: Subzero would tie in to what they believed would be another hit Batman movie. It really feels like somewhere around 95’or 96’, Warner Bros. told Bruce Timm and his crew that if we let you do another Batman Animated movie, it better be about Mr. Freeze. Of course, Batman & Robin was such a piece of shit, people eventually put it out of their minds after the film bombed. Unfortunately I think Batman & Mr. Freeze: Subzero was forgotten a little as well.
Which is a shame because it’s a hell of a little flick. Nowhere near as good as Mask of The Phantasm or Return of The Joker, but still solid as fuck. It’s certainly about one thousand times better than Batman & Robin, it feels wrong to even compare the two. The movie plays like a darker, longer episode of the show. But at only 66 minuets, it still feels like a movie with a 3 act structure as opposed to a multi part episode of the series.
Basically at some point during Batman: The Animated Series, Freeze found out his wife Nora was actually still alive and being kept in cryogenic stasis. They’re living a peaceful life in the arctic with Freeze’s 2 pet Polar Bears and an Inuit boy that Freeze rescued and adopted after his parents died. There’s an accident involving some poor bastards who stumble onto this little family (it doesn’t end well for them), Nora’s medical equipment is damaged and her condition deteriorates rapidly. Freeze and the whole Fam (including the fucking polar bears) head to Gotham where Freeze meets up with his old colleague, Dr. Benson another expert in cryogenics who’s a massive piece of shit with serious financial debt. Benson tells Freeze that the only way to save his wife is an organ transplant. Nora has a rare blood type so they need to kidnap some who’s alive, kill them, and harvest their organs. Benson the medical professional that he is, gets on board right away when Freeze drops a lump of gold the size of football on his desk and tells him it’s from a mine he discovered in the arctic, which is Benson’s if he successfully helps Freeze. And wouldn’t you know it? The perfect match: Barbara Gordon. Batgirl. Commission Gordons’s daughter and the love of Dick Grayson’s (Robin) life.
There are some great action sequences including the scene kidnapping Barbara while she’s out to dinner with Dick at upscale nightclub, which starts with Freeze coming for Barbara in the club, polar bears and all, and ends with Dick in badass motorcycle chase. The film’s finale on an oil rig that going up in flames is exciting and genuinely edge of your seat tense.
This is also arguably the darkest we see Freeze, who’s always been one of the most sympathetic members of Batman’s Rogues Gallery. Killing a man out of revenge for murdering your wife and destroying your life is one thing, but butchering an innocent young woman to harvest an organ is pretty fucking dark. Especially considering she was basically already dead and the procedure did not seem to have a high likelihood of success when it’s being performed on an abandoned oil rig by a criminally negligent doctor who hasn’t changed his clothes in days and is solely motivated by paying off his shady debts. We do see glimmers of the honorable man that still exists somewhere deep beneath the ice of Freeze, but his main mission here is kind of unforgivable. And those polar bears aren’t fucking around either!
I rewatched this because it just came out on Blu-ray, which includes all the other Mr. Freeze episodes in the Batman: The Animated series Universe (including Batman Beyond), and I found myself thinking it was kind of underrated. This movie is also notable because it came out in the time betweeen the original Batman: The Animated series ended and The New Batman/Superman Adventures began. It was the same show, same continuity, but there was a big character redesign. Also, there are some big character developments that happen between the change over on the show and this movie hints at some of those upcoming character developments.
I definitely recommend picking up Batman & Mr. Freeze: Subzero, I know I did. Especially if you have the other animated movies on Blu-Ray. It’s very good Batman movie and the Blu-Ray transfer looks good on the traditional animation. They experimented with some computer animation for certain shots and vehicles, that don’t work and look super dated. Other than that, this gets a big thumbs up from me. Give it a watch!
Oh FUCK! I forget about Batman: Mystery of The Batwoman! That’s one of the movies too..
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