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You also have the option to opt-out of these cookies. But opting out of some of these cookies may affect your browsing experience. Necessary Necessary. One inmate jumps across a narrow gap between the asylum and the adjoining building, but the other is afraid he will fall.
The first inmate offers to shine his flashlight across the gap so the other can walk across the beam, but the second inmate replies, "What do you think I am, crazy? You'd turn it off when I was halfway across! The book explores Moore's assertion that, psychologically, "Batman and the Joker are mirror images of each other" [4] by delving into the relationship between the two. The story itself shows how the Joker and Batman came to terms with their respective life-altering tragedies, which both eventually lead to their present lives and confrontation.
Critic Geoff Klock further explained that "both Batman and the Joker are creations of a random and tragic 'one bad day'. Batman spends his life forging meaning from the random tragedy, whereas the Joker reflects the absurdity of life, and all its random injustice". The torments that the Joker puts Commissioner Gordon through are meant to serve as "proof that there is something buried deep within each lunatic, a nugget of insanity, that is simply waiting for the right moment to spring forth".
The story is also famous for changing how the Modern Age of Comics perceived Batman comics by bringing it back to its darker roots. The final panels of the book have been the subject of interpretation and debate.
Alan Moore acknowledges the ambiguous nature of the story's ending, which "he believes to be a part of the book's brilliance", with the original script providing no further information. The Joker serves as an unreliable narrator.
He admits to his own uncertainty, as he has disparate memories of the single event "Sometimes I remember it one way, sometimes another If I'm going to have a past, I prefer it to be multiple choice! The story consists of Barbara recounting the events of The Killing Joke from her perspective, and the immediate aftermath of those events, including her recovery from her injuries and her adoption of the Oracle mantle.
Booster arrives at the carnival shortly after the Joker has rounded up the freaks, only to be attacked by them. He manages to escape, but arrives too late to save Barbara. Catching the Joker in the middle of taking photos of the wounded Barbara, Booster attacks the Joker in a rage; the Joker nevertheless gains the upper hand, snapping several photos of Booster as well.
Rip returns Booster to the future before the Joker can murder him, but Booster demands to be sent back again. Booster fails several times until Rip reveals that the Joker is destined to paralyze her, as it would ensure that she would become the Oracle. Rip did this to demonstrate to Booster that some points in time, like Barbara's paralysis, are fixed and cannot be prevented or altered, so that Booster would not continue insisting on rescuing his friend Ted Kord from death, another fixed point.
The story also reveals that Batman kept the photos of Barbara and Booster, and had been waiting until Booster came of age before confronting him. Batman thanks Booster for trying to stop the Joker and offers him his friendship. Eventually, Dick Grayson , who becomes his mentor's temporary successor as Batman, would also learn about this and offer his thanks as well.
In , writer J. Michael Straczynski and artist Cliff Chiang collaborated on a one-shot story called "Ladies' Night", which was published in the anthology series The Brave and the Bold.
The story is set shortly before The Killing Joke and deals with Zatanna and Wonder Woman struggling to come to terms with the impending attack on Barbara after Zatanna has a precognitive dream about it.
Like "No Joke", the story heavily implies that the heroines cannot alter Barbara's fate, despite their desire to do so, instead giving her a final night on the town before she loses the use of her legs. The story also implies that Wonder Woman Batman Dc Comics Database Tool served as the inspiration for Barbara Gordon's eventual codename of the Oracle. When DC Comics relaunched its continuity in , many of Batman's stories were erased from history or altered, but the events of The Killing Joke remained intact.
In the new continuity, Barbara Gordon recovered from the paralysis after three years. Although she resumes her work as Batgirl one year after recovering her mobility, she continues to suffer from posttraumatic stress disorder when exposed to gunfire that could result in receiving new spinal damage. On March 13, , DC Comics released 25 Joker-themed variant covers for its various monthly series for release that June, in celebration of the character's 75th anniversary. The cover depicts the Joker standing next to a tearful Batgirl, who has a red smile painted across her mouth.
The Joker has one hand holding a revolver draped over Batgirl's shoulder and is pointing to her cheek with the other hand, as if gesturing to shoot her. The cover quickly drew criticism for highlighting a dark period in the character's history, especially when juxtaposed with the youthful, more optimistic direction of the series at the time.
The hashtag changethecover drew dozens of posts on Twitter and Tumblr asking DC not to release the variant. DC ultimately withdrew the cover from publication at the request of Albuquerque, who stated, "My intention was never to hurt or upset anyone through my art For that reason, I have recommended to DC that the variant cover be pulled".
Although a one-shot, the events of The Killing Joke were adopted into ongoing comic book storylines. DC Comics officially retired Batgirl in the one-shot comic Batgirl Special 1 July , [29] and when Barbara Gordon reappeared in the Suicide Squad series, she was in a wheelchair and became the computer hacker known as the Oracle.
The mantle of Batgirl would eventually be passed to successor Cassandra Cain [30] and later, Stephanie Brown. Hilary Goldstein of IGN Comics praised The Killing Joke , calling it "easily the greatest Joker story ever told" and adding that "Moore's rhythmic dialogue and Bolland's organic art create a unique story often mimicked but never matched". Wooldridge of Batman in Comics called the graphic novel "an incredible story, with Moore at his best and awe-inspiring art by painter Brian Bolland".
Manning describe it as "the definitive Joker story of all time". Seb Patrick of Den of Geek also had a mixed response, calling The Killing Joke "one of the most revered and influential 'Batman' stories ever written and arguably the definitive Joker story", but adding that it's "not at the level of [Alan Moore's] true masterpieces [such as] Watchmen , V for Vendetta [and] The League of Extraordinary Gentlemen ".
In a interview, and elsewhere, Moore has been critical of his work, saying: "I don't think it's a very good book. It's not saying anything very interesting". The Killing Joke is a story about Batman and the Joker; it isn't about anything that you're ever going to encounter in real life, because Batman and the Joker are not like any human beings that have ever lived.
So there's no important human information being imparted Yeah, it was something that I thought was clumsy, misjudged and had no real human importance. It was just about a couple of licensed DC characters that didn't really relate to the real world in any way.
In a interview with Wizard magazine, Moore was also critical about his decision to cripple Barbara Gordon: "I asked DC if they had any problem with me crippling Barbara Gordon � who was Batgirl at the time � and if I remember, I spoke to Len Wein , who was our editor on the project It was probably one of the areas where they should've reined me in, but they didn't".
In the introduction to the story as it appears in the trade paperback DC Universe: The Stories of Alan Moore , Brian Bolland disputes the widely held belief that the story started as a Batman annual story and ended Batman Dc Comics Movies Nature up as a prestige-format book.
Bolland recalls that the idea for a one-off Batman story focusing on the Joker�with Batman more of an incidental character�was his. Bolland has also expressed dissatisfaction with the final book, and regrets that its impending schedule for release meant he could not color the book himself John Higgins was the colorist. Bolland says that "the end result wasn't quite what I'd hoped. I don't think it rates with some of the highlights of Alan's career".
Critic Mark Vogler wrote that The Killing Joke provided the Joker "with a sympathetic back story as it presented some of the villain's most vile offenses".
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