There’s a word that I feel perfectly encapsulates this issue’s attitude towards the Joker. Unfortunately, I don’t think I should use that word in this review, so I’ll just say it’s excessively self-indulgent and obsessed with the idea of how amazing he is. Everything from the way other characters talk about him to the framing of the narrative itself treats him as if he were some sort of god. This comic, and so far “Joker Year One” as a whole, shows that DC Comics has reached a saturation point of how much they’ve bought into his hype.
Joker has always been Batman’s archenemy, but he’s now the victim of a vicious cycle where writers make stories about how popular he is, which then only reinforces the idea that his status as Batman’s archenemy is the most important thing about him. As much as I love Grant Morrison’s Batman, I feel like their “super-sanity” concept was the start of this spiral. A lot of Morrison’s ideas acted as a sort of metacommentary on Batman comics as a whole, and their take on Joker was no exception. They used the idea that his mind reacts and adapts to his environment (i.e. changing attitudes from audience and editorial), to explain how Joker’s wildly different versions over the decades could be the same person. It worked in its context where everything took on a layer of metaphor about comics as a medium.
Scott Snyder took that larger-than-life approach one step further in stories like “Death of the Family” and “Endgame”, where Joker was framed as an eternal, almost mythic, counterpart to Batman. Once again Joker’s comprehension of the world was presented as being beyond that of normal people, just as his relationship with Batman was cosmically fated. This where their rivalry started to really become a focus in its own right, instead of simply being a consequence of of the characters themselves. He also introduced universes seemingly dedicated to Joker with later stories such as The Batman Who Laughs.
Fast forward to today, and Zdarsky has gone and taken both of these concepts to new levels. His run has already transformed Joker’s role from a symbolically and/or metaphorically fated idea into a literal, multiversal constant. His relationship with Batman is intimately woven into the very fabric of reality. It’s his existence that drives the course of human events and the all the worlds within. Now Joker Year One has built off of those ideas, and its characters are fully on board.
The central plot of Joker Year One: Part 2 revolves around Joker’s training at the hands of Daniel Captio. The fact that Joker was taught by Batman’s old mentor would be eyerolling on its own, but what truly brings it to the level of obnoxious is his constant, awestruck mention of Joker’s “perfection”. We get pages upon pages of narration about how Joker is without equal, the most terrifying mind he’s ever encountered, and even a superior reflection of Bruce. Morrison’s super-sanity concept is directly revisited, but filtered through a similar, hyper-literal lens as to what Geoff Johns did with Batman: Three Jokers (which the previous issue indicated is still canon). It seems that Joker’s multiple personalities were a specific technique taught to him by Captio as part of his training to defeat Batman. Now, not only is Joker’s rivalry with Batman ordained by the universe, but also a premeditated plot by Batman’s mentor.
This over-glorified view of Joker is even more extreme during the future story plot. I spoke about it positively last issue, in part because of the gorgeous art, but also because it was only about three pages long. It was little more than the premise, and “what if the whole world became Joker” was at least better than the rest of the story. Instead of leaning into what could be a somewhat interesting story idea, it falls into pretentious and obvious symbolism. We get even more pseudo-holy imagery of crucifix Joker, but now it’s even coupled with him walking on water, wearing robes similar to Jesus, and turning the rivers to blood like Moses. It’s about as subtle as a brick.
It’s a shame because when the future plot just gets to just be a normal Joker story, it’s not bad. Were this whole arc just that, and it was able to get over itself, I’d probably be writing a far more positive review. It’s not the most original concept, but the emotional beats are moving and Andrea Sorrentino and Dave Stewart’s gorgeous art really sells the horror. All of their characters and environments look spectacular, though I am somewhat concerned that Marvel’s lawyers might read it. Catwoman and Black Cat have a long history of (fittingly) stealing designs and concepts from each other, but this goes a bit far.
Beyond Joker’s training and deification, the comic spends its B-plot progressing Batman and Lt. Gordon’s investigation into the Red/Black Hood Gang. Surprisingly, it’s here that Batman and Joker do actually run into each other for the first time. However, it’s only by accident and over in an anticlimax as Joker almost immediately runs away. I’m so bewildered by what elements of Joker’s origin this story chooses to amplify. His ability to not be afraid? Well that was all part of a master plan by Batman’s old mentor for revenge. The first time he actually meets Batman? Whatever, it happens when he’s fighting some goons or something.
On Gordon’s end, his investigation is being stonewalled by a conspiracy in the GCPD that’s working with the gang. On the surface this feels like your typical “early Batman” plot before Gordon is able to rise to a position of power and make the police less corrupt (at least at the top). Except, again, the fact that it takes place following Batman: Zero Year throws a wrench into everything.
As a reminder, Gordon came out of that story a hero, and was getting fast-tracked to being made Commissioner less than a month later. This might take place within that intervening window, but it’s crazy that he’s still being treated as an upstart outsider. Not only that, but it’s pretty impressive for even the most corrupt police to set up entrenched connections with the criminal underground in a couple weeks. I know getting worked up about continuity details in comics is generally a fool’s errand, but setting this story in the direct aftermath of Zero Year was an active creative decision that is explicitly highlighted by the text. If you’re going to make that your premise, then at least commit.
Recommended If
- You think Joker is the most amazing character ever created, and needs more acknowledgement of that fact
- Andrea Sorrentino and Dave Stewart’s art is pretty enough for you to buy a comic if it’s on some of the pages
- You’re a fan of training montages
Overall
The second chapter of Joker Year One is an emphatic declaration of how incredible it believes the Joker to be. It’s exhausting listening to everyone’s narration, both past and future, about his unrivaled and unfathomable mind. Nothing is a step too far as what was once a chaotic clown who commits crimes is elevated to narrative godhood that the world revolves around. Maybe his sales numbers justify this culmination to decades of power creep, but his seeming omnipotence only makes him less interesting and more annoying.
Score: 3/10
DISCLAIMER: DC Comics provided Batman News with a copy of this comic for the purpose of this review.
