I, JOKER 307
said to end when its basic illusions are exhausted.” By infusing the comic with this kind
of metatextual commentary on the Silver Age of comics, Identity Crisis joins a long line
of comics that question the place of superheroes in contemporary society, such as Th e
Dark Knight Returns , Watchmen , Squadron Supreme , and Kingdom Come.
Craig Crowder
I, JOKER. A 48-page graphic novel written and illustrated by Bob Hall that was
published by DC Comics in 1998, I, Joker off ers an alternative reality version of the
Batman legend. It is one of a series of prestige format graphic novels, collectively called
Elseworlds , produced by DC Comics that take place beyond the restrictions of the
company’s long-established canon. I, Joker is one of the few titles under the Elseworlds
imprint to feature a villain in the lead role. Th e graphic novel presents a futuristic
Gotham City where Batman is worshiped as a god. It is told from the Joker’s insane
perspective as he participates in an annual televised event described as a “Night of
bloody cleaning when the great villains are resurrected— only to be slain by the Bat.”
Th e Joker has remained one of the most notable of all comic book villains since his
debut in Batman #1 (1940). His iconic appearance, with his pasty white skin, green
hair, lanky body, and ever-present smile, is known to generations as he has appeared
in countless comic books, television episodes, feature fi lms, and on a mountain of mer-
chandise. Th e Joker is Batman’s arch-nemesis who has been variously characterized as
both a comedic trickster and a maniacal mass killer.
I, Joker off ers a unique interpretation of the “Clown Prince of Crime” by placing
him within a futuristic television program that is somewhat similar to the one seen in
Stephen King’s science fi ction novel, Th e Running Man (1982). Author Bob Hall, who
began his comics career in the 1970s and has worked for both Marvel and DC Com-
ics, off ers no explanations as to what led to the creation of this bizarre future Gotham
City. He also does not provide any sense of the world beyond the televised program
at the center of the graphic novel. Th e artwork can best be described as idiosyncratic
as it is characterized by hyperactive drawings combined with heavy inking. Th e manic
quality of the art may have been deliberately employed to refl ect the Joker’s insanity.
Th e graphic novel begins with a bizarre ritual where Batman is praised by a chanting
throng of worshipers who yell phrases such as, “Hail the God-King of Gotham! ” and
“Hail to the Bruce.” Th e ensuing spectacle that follows features notorious members of
the Dark Knight’s rogues gallery (Penguin, Two-Face, Riddler, and Ra’s Al Ghul) being
immobilized in giant glass containers before they are placed into their own stylized
racing vehicles. Th e fi nal foe to enter the event is the Joker. As they race madly through-
out Gotham, Batman gives chase. However, this Batman is much more violent and
bloodthirsty than the hero who has appeared continuously for decades in mainstream
DC Comics. Th e Penguin and Two-Face are given particularly gruesome deaths.
Much of I, Joker is devoted to a fl ashback sequence where this version of the villain’s
history is revealed. He is, in actuality, a young rebel named Joe Collins who has discov-
ered that the Batman society worships is nothing but a tyrant “propped up by the mob’s
