Joker

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Genre Deconstruction: Joker's insanity, while in most continuity it makes him Crazy Awesome who clearly enjoys the mayhem, here it shows just how bad his psyche is and the downside he has, mostly depressions and anger issues, and how he is just as vulnerable as any men. Azzarello and Bermejo utilise comics’ unique format of the spaces between the panels to intimate some truly heinous actions by Joker. In one scene Joker randomly wanders into an apartment and murders an elderly couple in their beds with a razor blade, but the reader sees only the break-in and a murky aftermath as Joker lies on the bed atop contorted and bloodied human forms, the blade glinting off to the side. Later, Jonny’s wife is saved from Two-Face and it’s hinted that Joker then raped her before setting her free. Azzarello’s vision of Joker in this book is far more human and far more scary in moments like this than has been seen before in other comics. This makes Joker even scarier as he seems almost charming and likeable in moments of (seemingly) sober contemplation, as both the narrator and the reader find themselves warming to him despite his horrible deeds. Excuse Plot: How did the Joker manage to be released from Arkham? It's never explained and the Joker refuses to say, but it doesn't matter. The rest of the comic acts as a character study of the Joker from the perspective of an outsider, even if there is a story. Joker Graphic Novel Preview - Want to see the art before you buy the book? Take a look at a full scene featuring Killer Croc!

Azzarello began working in comics in 1992, joining Comico as the production coordinator. He was soon promoted to managing editor, before becoming Editor-in-Chief—or, as he was often credited, "line editor"—the position he held from 1993 until the company's demise in 1997. [2] During this period, Azzarello's wife Jill Thompson introduced him to Lou Stathis, an editor at DC Comics' Vertigo who wanted to move away from the light fantasy stories the imprint was known for at the time, and Azzarello was eventually hired as a writer. [1] He contributed short stories to a number of Vertigo's anthology titles and penned Jonny Double, a 4-issue limited series which marked his first collaboration with Argentine artist Eduardo Risso. [3] In August 1999, Azzarello and Risso launched 100 Bullets, a hardboiled noir series for Vertigo. [4] [5] The series ran for one hundred issues, from 1999 to 2009, and was noted for Azzarello's use of regional and local accents, as well as the frequent use of slang and oblique, metaphorical language in his characters' dialogue. Azzarello's other work for Vertigo includes a run on Hellblazer, the 2005 western series Loveless with artist Marcelo Frusin [6] and an original graphic novel Filthy Rich, one of the two titles that launched the Vertigo Crime line in 2009. [7] Doran, Michael (July 19, 2001). "Wildstorm Mature Readers Titles - Other Wildstorm News". Newsarama. Archived from the original on August 6, 2001.

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Johnston, Rich (August 20, 2015). "Brian Azzarello And Simon Bisley's Three Floyds Hits In November From Heavy Metal". Bleeding Cool. Archived from the original on August 22, 2015. Brian Azzarello". Wizard World. 2013. Archived from the original on September 9, 2013 . Retrieved October 4, 2014. Harley Quinn- Her character has always been such a strong one. But in this book all she does is stand in the sidelines coming to the front whenever Joker needs her to spend the night in his bed. However, if we were doing a book focusing on Batman the approach would be completely dependent on the requirements of the story. My next project, a Batman graphic novel, will be considerably more lush and soft in style because the story doesn't require the same feel. It plays in a similar world but doesn't need the bleakness to push the narrative thematically. Uh... God. You disgust me. You have no charm at all, just... obviousness. Dumb, dull, disappointing."

Bermejo: I see it as a big danger to make everything homogenous no matter what situation. I think that comics can do things movies can't and vice versa. In my opinion, you only expose their weaknesses if you try too hard at making one exactly like the other. Joker may have some cinematic elements, but we certainly never set out to do a "film-esque" comic. It very much plays (I hope) to the strength of the comic medium, which is that it tries to control the way you read it and the speed at which you read and react to certain scenes with a combination of text and art. I've seen a lot of artists attempt to do 'widescreen storytelling', some of them with great results, but ultimately they're still just carefully controlling what you see and how you read it. It may be considered more cinematic but it's still just using the comic book formula to a particular end. Includes the Wonder Woman short story (co-written by Azzarello and Cliff Chiang, art by Goran Sudžuka) from Secret Origins vol. 3 #6 (anthology, 2014)IGN Comics: Do you think artists, and comic books in general, need to incorporate visual elements from films to bridge that gap? Is there a major benefit in that or do you feel the audiences are separate enough that it doesn't matter? Stealth Sequel: Batman: Damned actually takes place after this story and reveals the body seen falling at the end of Joker is, in fact, the Clown Prince himself, not Jonny.