Batman Noir The Killing Joke

I have the noir version of watchmen and love how it makes Gibbons’ artwork stand out. It reminds me of reading both him and Bolland in the heady days of 2000AD.This version also has the added bonus of some extra artwork and a bunch of bw Batman Knight covers from Brian.I’ve a few versions of this and also all the versions of Watchmen and think I prefer the Noir editions.Highly recommended.

I won’t go into specific plot details, as this is one of the best-known and most analysed comic book stories, but rather my impressions from it.The “lightning-in-a-bottle” combination of Alan Moore’s writing and Brian Bolland’s artwork creates a masterpiece, utilizing two of the best-known mainstream comic book characters to tell what is very much *not* a “superhero story”. The contrast between a highly emotional, chaotic and energetic plot and a subdued, detailed, even mature, art style provides this work with a prestige look and feel, creating a true *graphic novel*.Also, from an in-universe presentation, the Batman presented here is at his *peak* and most iconic presentation (to differentiate from other classic Batman stories like Dark Knight Returns or Year One, which show him at his beginning or twilight…)This story has garnered more than a bit of criticism, due to its handling of Barbara Gordon. My opinion is that this specifically highlights the dramatic impact of the story, and that it serves a purpose both on a metatextual level (exploring the “damsel in distress” trope) as well as an in-universe level (there is quite a focus on Barbara’s character in the aftermath of The Joker’s brutal attack – not long but quite effective, considering that the entire story is not long).Admittedly, even Alan Moore has quite a lot of criticism on his own story, but reading those words of criticism brings me to two conclusions-1. For the work itself, Mr. Moore is flat out wrong – I find it hard to see how the man who wrote all three works of art would say that “... Watchmen was something to do with power, V for Vendetta was about fascism and anarchy, The Killing Joke was just about Batman and the Joker – and Batman and the Joker are not really symbols of anything that are real, in the real world...”. TKJ’s core ideas on sanity and insanity, order and chaos, and what makes a man move between the two, are that much more personal and relate to the human condition, than Moore’s V for Vendetta or From Hell, which concerns society at large and Watchmen, which specifically concerns comic book tropes.2. The source of Mr. Moore’s negativity perhaps originates more from his soured relationship with DC Comics (and his resulting reluctance to “plug” their best-known icons) rather than the actual work itself – which is quite sad, but from Moore’s POV, understandable.Moore’s criticism of his own work makes me appreciate it even more, as a work of art that has exceeded its creator’s intent, has subsequently shown itself to withstand such scrutiny and “earn” its acclaim.Regarding the color work, I think that on some level, the various versions each highlight a side of this deceptively-simple story. John Higgins’ original color palette highlights The Joker’s (and effectively, the story’s) “deranged” vibe, while Bolland’s own “muted” palette shows that darker, mature, grounded side. And both versions work beautifully – whether it’s the original softcover one-shot, the Deluxe hardcover with new coloring, the Noir version with *no color* and of course the Absolute Edition, all these versions, taken separately and side-by-side highlight the depth of the story and how multi layered it really is.The fact that such a short work (covering the equivalent of 2-3 standard monthly comic book issues) would elicit such strong impressions and responses (both positive and negative) , include such an iconic depiction of the main characters (both Batman and The Joker) and a moment in time that would be retroactively inserted into the main comics continuity and affect much of the work that came afterwards (both in-universe and on a meta level), is a testament to its strengths.For me, this work is nothing short of perfect.Get it. In any edition.

Solo un pequeño detalle en la esquina, casi sin notar pero supongo que golpe de traslado, en general bien es para un regalo espero que le agrade

Poco se puede decir ya de esta historia, una de las mejores de Batman, aunque, en mi opinión, no una de las mejores de Moore. Pero sí está entre los tebeos de Moore que ha contado con un arte superior en mucho a la media. Esta edición se ha hecho para disfrutar de los maravillosos dibujos de Bolland en blanco y negro: papel de gran calidad, no satinado, sino el mate de toda la vida, mayor gramaje y a un tamaño algo superior al estándar. Así que esto es un cómic de Bolland, muy disfrutable, que se completa con el par de historias que realizó para Batman Black & Noir y cincuenta portadas para cómics de Batman. Una gozada visual.

Tenho a versão colorida, mas essa aqui é inigualável. Perceba o nanquim do genial artista britânico, seu traço perfeito, sua luz e sombra. Ee ainda vem com uma extensa galeria, em P&B, das melhores capas do mestre! Um livro de arte!