Read Batman: Lächeln Bitte by Alan Moore Free Online
Book Title: Batman: Lächeln Bitte|
The author of the book: Alan Moore
Date of issue: 1990
Loaded: 2605 times
Reader ratings: 7.7
ISBN: No data
ISBN 13: No data
Format files: PDF
The size of the: 437 KB
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It causes me no joy to give any comic written by Alan Moore one star, but this is how it has to be. Now, before I write a single word more, let me start with this simple disclaimer: I consider Alan Moore the best writer to have ever worked in comics. There are no qualifiers to that; no qualifications. Moore is unmatched.
But The Killing Joke? As a Batman book, it's just bad. That isn't to say there's nothing to like here: this book certainly has its moments; some of which are brilliant, in fact. But as a story, it doesn't work.
Killing Joke is really two stories told in parallel. It provides an origin for the Joker while simultaneously following him on a scheme to drive Commissioner Gordon insane.
The origin is largely based on an old issue of Batman from the 50's: "The Man Behind the Red Hood." As much as I appreciate the nod to the past, the Red Hood origin of the Joker is one I could do without. While I am not in favor of attempts to make Batman "realistic," I do feel that some elements should be handled carefully if handled at all.
And that's really the problem here. Not only did Alan Moore use an absurd origin; he made it more so. In the original, the Red Hood was a hardened criminal before he became the Joker. In this version, he was a comedian having a really bad day.
I think I understand what Moore was trying to do here. I believe he wanted to create an element of pathos in the Joker's past while playing up the absurdity of the medium.
But the result felt sloppy. Instead of adding layers to the Joker's personality, it just made him less interesting.
The real problem with Killing Joke, however, is the other story line. The Joker takes Barbara Gordon by surprise, shooting and paralyzing her. Setting aside my personal objection to crippling one of DC's best (and, at the time, few) female characters, Moore missed a huge opportunity here. Had Oracle’s injury been sustained as Batgirl, the psychological effect on Batman could have been developed in great depth, as he’d have been responsible for placing her in harm’s way. As it was, the story only takes a toll on her father, and that's largely wrapped up by the end of the comic.
The Joker's motive for all this mayhem, to break Jim Gordon and prove that a bad enough day can drive anyone insane, comes to nothing. In part, he's foiled by Batman, but really he loses because he's wrong: Gordon is strong enough to survive his ordeal.
In the end, after everything, The Joker's comprehension of the human psyche is wrong. To me, this destroys the character’s credibility. The Joker has no superpowers, but madness is his expertise. For him to set to prove a point about insanity than fail, not due to Batman but rather his own assumptions, weakens him. Even after shooting Barbara, he ends the book less of a threat than he started.
Now, let's be honest: one star is a harsh rating, and were this book not commonly called "The Greatest Batman Story Ever Told" I'd almost certainly have been more lenient. There are certainly excellent aspects to the writing and the art; aspects that would buy any other book three stars.
But this isn't any other book. It's one of the most significant Batman stories written, having forever altered the continuity and status of several characters. It's Alan Moore's most famous Batman story.
And it really isn't that good.
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Read information about the authorAlan Moore is an English writer most famous for his influential work in comics, including the acclaimed graphic novels Watchmen, V for Vendetta and From Hell. He has also written a novel, Voice of the Fire, and performs "workings" (one-off performance art/spoken word pieces) with The Moon and Serpent Grand Egyptian Theatre of Marvels, some of which have been released on CD.
As a comics writer, Moore is notable for being one of the first writers to apply literary and formalist sensibilities to the mainstream of the medium. As well as including challenging subject matter and adult themes, he brings a wide range of influences to his work, from the literary–authors such as William S. Burroughs, Thomas Pynchon, Robert Anton Wilson and Iain Sinclair; New Wave science fiction writers such as Michael Moorcock; horror writers such as Clive Barker; to the cinematic–filmmakers such as Nicolas Roeg. Influences within comics include Will Eisner, Harvey Kurtzman, Jack Kirby and Bryan Talbot.
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