'the killing joke'

First published 25 years ago, "The Killing Joke" may be one of the three finest Batman stories ever told. It's certainly the finest ever written about the Joker.

Written by Alan Moore and illustrated by Brian Bolland, "The Killing Joker" has the Batman starting to boil over in his frustration with his green-haired foe. He knows how Harvey Dent became Two-Face, and that all his decisions come down to the flip of a coin. He knows that the Edward Nigma is the Riddler, and he understands the Riddler's compulsion to lead people on a chase.

Ra's al Ghul, the Royal Flush Gang, Poison Ivy, the Penguin -- Batman gets the entire Gotham City rogues gallery, and knows how they work and why. But the Joker remains a mystery to him, and Batman wants to change that before it becomes too late and one of them kills the other.

The Joker, of course, has other plans.

In one of the most iconic scenes from the comic, the Joker shoots Barbara Gordon at point-blank range and paralyzes her. This event, which sidelined Barbara Gordon from being Batgirl for the next 25 years of comics, wasn't even the main attraction as far as the Joker was concerned. His goal is simply to drive her father, the police commissioner, insane.

"The Killing Joke" is the comic that cemented the Joker in readers' minds as a nihilistic madman, and one of the central themes of the comic is how far one bad day can take a person past the edge. Without knowing the details, the Joker alludes to the events that drove Bruce Wayne to become Batman, and assumes that Commissioner Gordon also has been pushed over the edge by what the Joker has done.

But what makes the story worth reading is that Moore depicts the bad day that pushed the Joker himself over the edge, when all his hopes and dreams came crashing down, when the bottom fell out of his world, and he plunged into the void.

Around the same time that DC Comics published "The Killing Joke," it also published Frank Miller's "The Dark Knight Returns" and "Batman: Year One," which showcased the endpoint and genesis of Bruce Wayne's career as the Caped Crusader, and that established him as an antihero with mental health issues of his own.

Add "The Killing Joke" to the mix, and there's nothing else DC has published that comes even close to their level.




Copyright © 2016 by David Learn. Used with permission.


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swamp thing, volume 6

The final collection of Alan Moore's award-winning work on "Swamp Thing" finds everyone's favorite plant elemental trying to make it back home.

Volume 6 is less memorable than the previous volumes collected under writer Alan Moore's name. The first four volumes in particular focused pronouncedly were horror, environmental horror in particular. This anthology instead explores the genre of episodic science fiction as the Swamp Thing's spirit jumps from one planet to the next. As he goes Moore explores and offers up commentary on science fiction characters such as Adam Strange, Metron and a member of the Green Lantern corps.

Unlike the issues collected "American Gothic" storyline, these are essentially standalone stories and fairly straightforward fare. Loosely connected by his desire to return to the earth, the individual issues are not building up to any great conclusion, and in fact contain stories by other writers as well. Among these is Rick Veitch's issue with Metron and Darkseid, which in a few throwaway panel serves to foreshadow one of the storylines Veitch had planned for his own run on the comic.

This is not to say that the stories aren't good; Moore has always been one of the brightest lights in comic books, and in the 1980s, he was at the top of his game. It's clear from these stories that he was having fun, imagining unusual settings to place the Swamp Thing in, and along the way experimenting with the storytelling medium he was using. (There is one story told from the perspective of a sentient planet-size ship that encounters the Swamp Thing and traps him in her core for a brief time.)

But it's only after the Swamp Thing gets back to Earth that things begin engaging again, as Moore returns to his familiar environmental themes, and winds up his defining run on the series. And like every good writer does, he leaves the reader with something to consider on those themes.

While in space, the Swamp Thing discovered he could save a world from complete environmental collapse and ruin, and now on earth he is considering the possibility of doing the same here, until he realizes that humanity would simply squander the new Eden he gives them, and continue to blight it over and over again. It's better, he decides, to sit it out, and hope that humanity will wake up to its responsibilities on its own.

And on that, despite the horror we have seen over the last six volumes, Moore leaves us with the hope that we are willing to contribute, and the effort we are willing to make that hope real.


Copyright © 2014 by David Learn. Used with permission.

swamp thing, volume 5

I had never read much Swamp Thing until recently, when I finally got around to reading Alan Moore's classic take on the character.

As superheroes go, Swamp Thing really doesn't bring much new to the table. A brilliant scientist named Alec Holland, he was turned into a monster by a horrible accident in his lab in the Louisiana bayou that turned him into an intelligent mass of swamp life. It was a fairly ho-hum origin story until Alan Moore took over the title and started to explore the horror story potential around a being so literally plugged into the environment.

This, the fifth volume of Moore's seminal run on "Swamp Thing," marks a shift in the storytelling from the four previous volumes. Until now, "Swamp Thing" has been a comic showcasing environmental and social horror, covering topics like deforestation and overconsumption, nuclear and toxic waste, misogyny and domestic violence, and America's gun culture. Volume 5 is where it becomes a love story.

Comic books almost always have contained their romantic subplots, as the hero has a love interest that can't be fully realized for one reason or another. Superman loves Lois Lane, but she has a low opinion of Clark Kent. Ben Grimm loves Alicia Masters, but can't see her being with someone as misshapen and as monstrous as him. And not only is Abigail Cable married, the Swamp Thing is a superorganism of plants.

Here Moore offers a subtextual commentary on superhero relations as the authorities charge Abby with crimes against nature, prompting her to jump bail and flee to Gotham City. When the Swamp Thing discovers, he follows her to Gotham and ultimately brings the city to a halt and (naturally) comes into conflict with Batman until his lover is released.

This collection continues many of the environmental themes of Moore's earlier "Swamp Thing" stories, but it also delves into the psyche of an urban jungle and its powerlessness before the might of nature. Even as he tells the story of the love between the Swamp Thing and Abby, Moore shines his light into the emptiness of America's cities and the longing at the heart of humanity for a return to the Green and walking in step with nature once more.

As Batman later remarks, "I think all of us were awed by a love that could stop a city."

If you're looking for a superhero comic for your children, "Swamp Thing" isn't it. But if you want an intelligent story that gives you something to think about after you finish, you should read this, and the previous four volumes.



Copyright © 2014 by David Learn. Used with permission.

Alan Moore: 'From Hell'

Well, I finished "From Hell" last night, around four in the morning after getting it in the mail that afternoon, so I think I have to give it a thumbs-up.

The book is a graphic novel written by Alan Moore and illustrated by Eddie Campbell about Jack the Ripper. Detailing events leading up to the infamous Whitechapel murders and an ensuing coverup, "From Hell" is a tightly scripted piece of historical fiction.

As an on/off fan of Moore's work -- I loved his run on "Saga of the Swamp Thing," was blown away by"his V for Vendetta," and found "Watchmen^*" to be amazing, but was unimpressed with "Tom Strong" and "The League of Extraordinary Gentlemen" -- I've been looking forward to reading this one.

The book did not disappoint. It was a tightly written graphic novel, as meticulously plotted as I've come to expect from Alan Moore, and thoroughly researched. The book is structured around a widely dismissed conspiracy theory that Jack the Ripper's actions were a plot orchestrated by the Freemasons to protect the British Crown during the reign of Queen Victoria from a scandal involving her grandson Albert.

The action is gruesome -- this is a story about Jack the Ripper, after all -- but Moore's ability to tap into the power of symbolism and to further imbue those symbols with the semblance of deeper order and power, drives some of the most absorbing sections of the book, such as Sir William Gull's taxi ride back and forth across London as he completes an arcane circuit of the city's churches and landmarks.

On the downside, the artwork did make it difficult at times to differentiate among the characters, particularly given the size of the cast; and as an American reader unfamiliar with 19th-century London slang, customs or culture, I had to consult Wikipedia at times to make sure I was following the story correctly. (I also had to re-read the first two chapters, since I found I didn't understand properly what was happening in the fourth chapter, when the story started to progress.)

The artwork also was explicit, not just in terms of the violence, but also regarding human sexuality. Jack the Ripper, after all, wasn't just a serial killer; he was driven by psychosexual demons that led him to prey upon prostitutes in the Whitechapel district with a particularly vicious sexual violence. As a result, I doubt I'll be letting my daughter read this anytime soon. Maybe around the time I let her read my "Swamp Thing" collections, which I've summed up previously as "When you're older, and I'm dead."

I do recommend it, although if you've decided you're not an Alan Moore fan, I concede that you probably won't like it.

^* I think I finally enjoyed "Watchmen" on the fifth or sixth time through. To be fair, on first reading I think I initially was expecting a superhero comic, and wasn't ready for the superhero deconstructed. By the time I was in my early 30s, though, I was finally able to see myself a little in Nite Owl, and could appreciate better what Moore had done with the other nonheroic "superheroes" like Dr. Manhattan and Rorshach.


Copyright © 2013 by David Learn. Used with permission.


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