[ SECRET POST #3380 ]

[case]

⌈ Secret Post #3380 ⌋

Warning: Some secrets are NOT worksafe and may contain SPOILERS.

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Notes:

Secrets Left to Post: 02 pages, 031 secrets from Secret Submission Post #483.
Secrets Not Posted: [ 0 - broken links ], [ 1 - not!secrets ], [ 0 - not!fandom ], [ 0 - too big ], [ 0 - repeat ].
Current Secret Submissions Post: here.
Suggestions, comments, and concerns should go here.

Comments

Re: The Killing Joke

[(Anonymous)]

Killing Joke is like a lot of stuff Alan Moore does - yeah, there's arguments that can be made over important stuff, but it's also a damn good story. Sort of like how I personally loathe - I mean fucking LOATHE Frank Miller, but if I need to give someone a recommendation for hard-nosed noir potboiler comics, they're getting Sin City. Despite all the problematic stuff, it's a good damn series.

But anyway, back to the topic - this does look pretty damn good.

Re: The Killing Joke

[dethtoll]

Frank Miller's absolute A-#1 best work is his early 80s Daredevil run and Batman: Year One. I'll gladly recommend it to anyone looking to get into either character. Sin City is decent. But everything else is garbage, especially since he started turning into a little weirdo fascist goblin around the time of DKR.

Re: The Killing Joke

[(Anonymous)]

ayrt

100% fukken agreed.

Re: The Killing Joke

[(Anonymous)]

dethtoll, I completely agree about his early work on Daredevil AND I'm here for Sin City, but I swear I do not get the fucking hype around Year One. All I genuinely liked about it was Gordon's story, which I really liked a lot! But what he decided to do with Catwoman was gross (though completely in character for Frank Miller) and the Bruce story was fine and all but I honestly don't get what makes people think it was all THAT great.

Help me understand this? I ask you because most of the people who live and die by that story are also obsessed with The Dark Knight Returns (if not, like, ALL his stuff), which was another no-thanks for me.

Re: The Killing Joke

[dethtoll]

I'll grant that Miller's treatment of Catwoman fuckin' sucked and it took DC way too long to fix it.

What makes Year One special is that it's a continuation of Miller's Daredevil noir vibe, combining a police drama (Gordon) with a Batman tale that at the time had not been really touched on often (in fact, it wasn't until 1976 that Dennis O'Neill actually revisited and expanded upon Batman's origins with the murder of his parents.) It tackled Bruce's early attempts at crimefighting, which was a new wrinkle in the origin, and showed that even the World's Greatest Detective was only human and had a rocky start. The specific combination of Miller at his very best with one of the greatest Gordon stories and a Batman origin that suited the character is why Year One is so great, to say nothing of the symbolism and striking imagery (the bat smashing through the window is a motif that has gotten a lot of play over the years.) It's got historic significance (being the "official" origin story for the next 30 years, with very few major changes) as well as being a good yarn on its own merits, Catwoman aside.

Re: The Killing Joke

[(Anonymous)]

That is fair. Though honestly I tend to find It's (Partially) Great Because It Was A New Thing At The Time to be a mildly unsatisfying answer whenever I get it, but obviously I understand that it was the case.

I'll reread it at some point.