Wednesday, November 27, 2013

"Checkmark"

     Hello everyone, and Happy Thanksgiving! Since most of you will have the day off tomorrow and may or may not be watching the football game with a plate of turkey resting comfortably on your chest, I thought it might be nice to post a new short story I recently finished. I have been experimenting with coming up with new characters to introduce to the "Requiem" universe, and in my opinion, a hero is only as good as his villain roster. So, today I introduce the world to Checkmark, a self righteous killer who tattoos his victims with a list, and then proceeds to check those items off the list with his blades. I assure you, no turkey's were harmed in the making of this story. However, I do have a disclaimer that this story, that although an origin for Checkmark, it does get gruesome at times. Writing this story was an experiment for me because I don't normally write in 2nd person POV and I don't know of many stories that take everything away from the reader and force them to sit in place of the victim. I have had some really good feedback about this story, and some really bad feedback just the same; and I hope that since this piece is still in the revision stages that you guys will give me some feedback. Thanks and have a fantastic Turkey Day.







"Checkmark"
by Christopher A. Kouse
            You wake up blindfolded. Your mouth held closed. After a moment passes you come to the conclusion that your bonds are made entirely out of duct tape; you would know that rubbery taste anywhere even if it were coated with sugar; that pungent stench still finds a way to seep through your nostrils. Your wrists, your ankles, all held firm to the chair. The texture of the bonds leads you to believe they are from the same material wrapped around your mouth. A slight pain begins to tingle through the amnesia in your arms and legs. Even the front of your neck has a slight tickling sensation that sets you off into borderline madness. The Who’s, What’s, and Where am I’s are the only thing you have left to call your own-- other than to listen for the approaching footsteps from beyond the barrier of shrouded sight.
            “If you had to, could you recognize yourself?”
The blindfold is rushed off of your head with a disregard for comfort. The light billows down from a single lamp that’s light makes up your world. You notice that beyond what the light touches there is nothing; only darkness. The hand of the mysterious speaker reaches out from within the darkness with a gloved, open palm. Within his hand rests a porcelain mask with the same features of your face. You immediately recognize this mask as one you created a long time ago, somewhere, in another time and place. How did he get his hands on that?
“So, I see you do recognize yourself. Hard not to, it’s almost an exact likeness. It’s well made. The work of someone with skilled hands no doubt. However, there is one flaw,” the speaker turns the mask over to reveal it’s hollowed out self. “It’s empty.”
With an effortless and precise twist the hand crushes the mask, allowing the shards, now covered in blood, to fall to the ground. One by one the tiny orchestra of bouncing porcelain fragments echoes off of the floor; and in hearing them your world grows by momentously into the darkness, but only to be twisted with the maniacal laughter of the figure looming just beyond the shroud.
“Oh, don’t look so sad. You can always make another one, but still- perfection is long far off.”
Your eyes wander away from the hand and look towards the source of the voice; and as the hand retreats beyond the beam of light and back into the realm of dark, a face emerges to meet yours. It’s the eyes that first grab your attention; black, nocturnal, void of emotion-- except that of maybe pleasure. The face is covered by a thin material; silk perhaps, and although you have no idea of who is behind this mask, you know exactly who it is, and your hope of getting out of this alive dissolves within the cold recesses of his eyes.
“I can hear those cogs turning as loud as church bells in that little head of yours- at least you’re using it for something other than a…”
You try to give a rebuttal but the words are swallowed by the gag.
 “What’s that?” the figure leans in closer with one ear as if sarcastically trying to listening. He then sharply pulls away. Although you can’t see it clearly, you can make out the line of his smiling lips through the mask.
“No, you don’t get to speak. You’ve been doing that for years. Your logic has made me sick and now I have the stage—or at least…”
He reaches down to your legs which bring attention to the two on your arms and two on your legs. You can’t see it, but you assume there is a third on your neck where the pain sensations have been coming from. The figure grabs and quickly rips the bandages that were wrapped around your legs off. The sharp ripping sensation exposes the hidden flesh to the pungent air.
The sharp sudden pain of the adhesive is mild in comparison to what you expect is to come. You know this creature and the torments he is capable of. In your thoughts, one word becomes clear to describe this vile person, the only word- Checkmark. You look down; see the freshly completed work of a master. On your left leg you make out the word Death, and on your right leg it reads the word Experience. Above each word rests the outline of a box looking to be filled with regret. Immediately, Checkmark lowers his head to your thigh where he can catch your gaze.
"Beautiful, isn't it?" His head cradles the leg marked Death and kisses the box through his thin veil with a promiscuous embrace. He rises from your leg and adjusts his gloves to regain the tight feel in the fingertips. As he turns from you he walks back into the darkness from whence he came.
"Your eyes give you away, you do realize that don't you?" You hear a shuffling of metal sliding along metal in the darkness. Your heartbeat becomes quicker as the footsteps begin to pace forward in your direction again. God! Somebody help me.
"God cannot help you now. This is for your own good and you fear your own death to a fault. Always wondering when your time will come; could it be today, could it could be tomorrow- but now I will release you from your burden."
You are blinded for only a moment by the reflection of the light as it bounces off the sword. You wince twice, the first time to protect your eyes from the light, the second, to mask your scream as it is stifled through your gag. You open your eyes wide to the sound of metal piercing flesh. Your eyes wide and your heart beating outside of your chest as you feel the cold steel begin to cool off the meaty interior of your leg.
"You fear me...although I would too if I were in your position, but you know what I am capable of; you know who I am and what tonight is all about." Checkmark slowly twists the blade at an angle and drags it through your flesh. His skill is perfect and his strength inhuman.
The pain is only bearable because of your restraints; if not for them you would be pouncing and kicking and screaming and, Oh God make it stop! With a tightened grip around the hilt of the blade, Checkmark removes it oh so delicately from your flesh. You jerk in your bonds trying to get free, but they are unforgiving, much like your captor. It takes only a moment for the stinging pain to subside and as you begin to feel the warm red liquid ooze from your wound, it brings a sense of understanding and calm washes over you in waves. It’s impossible to make the distinction between ecstasy and endorphins. You examine the artist’s handiwork for the first time and it is painfully beautiful. No jagged edges, no flesh missing, just a clean cut in a perfect V like fashion with one line longer than the other. You tell yourself the worst is over...isn’t it?
***
An hour passes; maybe more. Time begins to have no meaning when you lose control. The slow burn in your left leg where the cut was made just a while ago has become numb from the loss of blood. Your vision, the only thing that you can control, begins to deceive you. Left alone with your thoughts, your vivid imagination about what Checkmark is planning when he comes back sends chills down your spine. Perhaps he never left. Between the loss of blood and the constant state of shock you have been in, at one point in time during the last hour you could have sworn that you saw his face staring back at you from the darkness. That was the difference between your world and his, the dark is always more readily, and easily accessible; he resided within the dark, and it’s always easy to see those in the light when looking from the shadows.
“…(whistling your favorite tune)…”
You hear the slow tapping of shoes touching the floor; the sound moving towards you. It seems so far away. How big is this room? Next comes the sound of a slow drag of steel gliding along concrete. Your breathing begins to increase. The memory of the pain in your leg begins to return. You know he is coming back and there is nothing you can do to stop it. You look down at the tattoo marked Experience on your right leg and wonder what gives him the right to judge. How does he know? The skin under the bandage on your chest begins to itch again, sure to be the last to be revealed in this sick and twisted game. What could I have done to deserve this? You are sure that anyone in your position would be asking the same question, but instead of an answer, you know that no one believes that they deserve this kind of punishment, when in fact, maybe… just maybe they do. Do I?
“Sorry about the hold up.” Checkmark emerges from the darkness before you. “I hope I haven’t kept you waiting for long. I know you hate me and believe me I do know; but you can’t really blame me for showing you the flaws in yourself.”
            Checkmark begins to circle you counterclockwise, still dragging the tip of his sword along the floor. “Tonight is about a purging of sins,” he comes to a halt behind you. “-and after tonight you will thank me.” You see the blade come from above your head slowly and rest its tip in the middle of the square tattoo on your right leg. As the tip presses ever so lightly on your skin you see a tiny teardrop of crimson roll down the side of your leg. You know the judgment is coming, and you hold your breath with quick fleeting hope.
            “You lack experience.” Checkmark begins to tease your skin by turning the blade as if trying to make up his mind. “What have you done with your life? You have nothing to show for the way it has been lived so far.” You feel pressure being applied to the blade and your senses run wild with the loss of control. “You have become content with your life and that cannot be tolerated.” The blade is surgical this time. Slowly piercing and twisting. Your eyes roll back in your head as you let out a moan of agony from behind the gag. The muscles tighten as you try to pull yourself off of the blade as it is masterfully turned to make the intersecting point of the checkmark into your flesh.
            The blade is slowly pulled from you and you wish for the numbing sensation that you have in your other leg to set in quickly. Checkmark rotates your chair to face him and he kneels so that his eyes meet yours. “You are being such a good sport about this. I know you would just love to get your hands on me, but really—what would do? Soon you will see what a great friend you have in me.” You notice a smile form behind his mask again. A different word comes to your mind other than friend to describe him, and you convey that message through the look in your eyes. “I can see you need some time to yourself, but first let me give you something to dwell on.”
            Checkmark grabs a hold of both bandages on your arms and with little effort he rips them from your body. The pain this time pales in comparison to that which courses through your legs. Checkmark drops the bandages and slowly walks backwards into the darkness, his right hand up giving a tiny wave of goodbye. You look down unsurprised to see two new tattoos; one on your left arm, and the other on your right. Your heart drops seeing the words Ambition and Responsibility beautifully designed with two empty square boxes just waiting to be filled. Although you fear what comes next, the location of the last bandage is still what scares you the most.
***
The coolness and the drowning sensation of a glass of water being poured onto your head wake you from the safety of a dream. Waking from a fantasy to a nightmare is the only comparison you make in this situation. The lack of blood running through your legs has left them limp and motionless. You realize that even if you were to manage to get out of this situation, there are no guarantees you would be able to walk again. Your eyes are blurry from the blood loss and the figure of Checkmark before you is a skewed one. What now? The thought runs through your head, what more could he do to you? But, you know the answers to all of your questions. You even know why you are here. Some part of you is able to make sense of all of this, and yet even though futile, you still resist him to the last drop of your essence.
            “Still with us I see.” The image of Checkmark tears through your dilated eyes like removing a pair of prescription glasses.
            “Although, I don’t think you have much left in you so, I tell you what I am going to do. As much as I have enjoyed your company, the night is so very young and I have other places to be, more art to make and other lives to save. So, let’s speed this up.” Checkmark reaches behind him into the dark. You hear the grinding of steel on concrete first, and make out the frame of a chair being pulled towards you. The chair spins effortless on one leg in Checkmark’s hands; and even before the chair becomes firmly planted, he falls upon its seat, legs spread as his arms rest upon the top of the high back chair facing you. Your eyes rise to meet his, and his head turns to meet yours. You let your eyes do the speaking for you.
            “Ambition and responsibility,” Checkmark gives a grunt to acknowledge the heft of those words. “I want you to understand that it is you that give these words meaning. One person’s flaws are never the same as another’s. And if you were in my position you would be doing the same for others who are slaves to themselves. The truth is that people hold themselves in contempt-“He reaches behind his head with both arms and frees two blades from their sheaths. “- and I set forth to free them of this self-loathing nature.”
            “Responsibility,” Checkmark aims the tip of one of his swords at the square box on your upper left arm. “You refuse to take it. All your life you have failed to live up to your own expectations. Consistently, you have blamed others for your faults and have refused to take the responsibility of your actions.” He produces the second blade in his left hand and points it towards your left arm marked Ambition. “Ambition- you have none. What a worthless corpse your life has become; an empty shell of regret that you have allowed to consume your life. What happened to the hopes you had as a child- what things you could have seen, the places you could have went and the person you could have become. Let me show you.”
            You try pleading a case with Checkmark with muffled sounds, but he would not hear it. Checkmark rises to his feet and with one firm kick, he sends the chair he was sitting on flying back into the dark. Your attention is so focused on the mad man that you almost fail to notice that there was no loud crash from the chair hitting the floor. With a single thrust from both of his hands, Checkmark sends the blade perfectly into each of your arms with such a strong force that your chair tips over and your head collides with the ground causing you to blackout.
***
            Some time passes until you regain consciousness and it dawns on you that you are sitting upright again and alone. By the time your eyes readjust, the nerve endings in your arms finally send the signals of pain into your brain. Looking at both arms you notice a perfect checkmark shaped sign engraved into each tattoo box. Blood is still seeping from the wounds, but the initial shock of metal penetrating flesh subsided when your head slammed into the ground. The ache in the back of your head causes you to stretch your neck muscles. You are unsure of which was worse, feeling the slow cuts or dealing with a possible spinal injury.
            You notice that the itching just below your neck is gone and you feel a cool breeze brush past the freshly exposed area. Reality begins to sink in that the end is coming, and you struggle to see the tattoo. You know it’s there, it has to be. Why would he do anything different this late in the game? Anxiously you struggle to twist your head to see, but your neck isn’t forgiving. It’s a trick; he wants me to go mad. You calm yourself to make it appear that you aren’t falling into madness. He has to be watching.
            Time seems to slow down and you begin to examine your predicament and all that has happened to you tonight. You notice the pool of crimson at your feet; it has almost entirely blanketed every part of the floor that the light touches. Your world is drowning in blood. I deserve this. You struggle to find some lie in the truth that Checkmark has been preaching tonight, but fail. You are afraid of death, you do refuse to take responsibility, you do lack experience and you don’t have any ambition. What is the final piece of the puzzle!
            You see a light twinkle within the darkness. The light appears to be coming closer and as soon as it reaches the threshold of blood pooled out on the floor, you make the light out to actually be a mirror. You look into the mirror and your heart drops as you read the final tattoo inked into your neck; Martyr, with a square box above it. You feel a vibration run along the back of your chair and realize that your bonds holding your hands have been severed. Within seconds you feel the same sensations cut through the tape on your legs, and they fall free away from the stiff chair. You struggle to reach up to remove your gag, but your head tilts down to meet your hand half way; and although hard to move, you remove the remainder of the tape on your wrists and wait for Checkmark to make himself visible one final time.
***
            His voice pierces from the darkness. “It seems we have a mutual understanding.” You hear him giggle slightly in a disoriented manor. Checkmark walks into the light and you notice the dark outfit he wears is now soaked in his own blood and torn in areas. Cuts are in the form of checkmarks and have been made into his flesh in the exact same way they were impressed upon you. The tattoos are the same as well. You watch as he pulls both blades from his back and looks at them for a moment. “I can find no fault in you for this last test. You cannot force someone to become a martyr.” He fluidly rotates one of the blades in his hand and presents it to you. You struggle from your chair and catch yourself a few times from falling. Your hand reaches out and claims the blade for your own.
            Checkmark reaches up with his blood soaked glove and begins to pull back the mask that shrouds his face. You stand there and face him, the real Checkmark. It is as if looking into a mirror. His face is yours, or my face is his. He presents his chest to you and the tattoo marked Martyr.
            “You have a choice. Take my life and end this momentary torment, or ask me to end your personal hell.”
            You consider his words carefully and search yourself for what you really want. The mark on his chest looks so empty, and the itch returns on your own chest—an itch needing scratched. You rotate the blade towards his chest, and Checkmark readies himself for the final blow…
            You turn the blade on yourself and pierce your own chest, squarely center of the empty box marked Martyr.
***
            You wake up lying on your bed. The nightly breeze from the open balcony of your apartment chills the sweat droplets on your body. You reach up and remove the porcelain mask from your face and sit up right. Directly ahead of you across the room, past the dark, lies a mirror staring back. You see the scars of the self-inflicted wounds within the tattoos marked Death, Responsibility, Experience, Ambition, and Martyr. All filled with perfectly carved checkmarks.
            Lying next to you on the bed is your tattoo kit, on the other side your weapons of choice. You pull the satin mask over your head, pack up your things and head out into the night searching for lives to save.
#
https://www.facebook.com/Angelicomics?ref=hl

Tuesday, October 29, 2013

C4 2013 and Creating Bridges


 
(Left to Right: Ren McKenzie & Son, Mark Waid, Dustin Carson, Christopher Kouse, Victor Dandridge Jr., Matthew Smith P.H.D.)

    Let's talk C4,... and I am not talking about the explosive, but it's just as dynamite (yes, I know how cheesy that was). This past weekend Wittenberg University hosted the fifth annual Champion City Comic Con. I can honestly say that this convention, by far, has been one of the greatest convention I have ever attended. Not that I haven't attended many conventions, or to put others down, but this was the first time I felt like I was amongst family. Being able to attend a con where you know half of the talent really makes the time fly, and sadly, the convention is only run for one day. Local artists Victor Dandridge Jr., Bill Gladman, Dustin Carson, retailers Pete Bell from "Bell, Book" and Comic, Jessie Noble, Frank Raynor and Mark Waid were all in attendance this year and helped pull off a fantastic show. Let's not forget the host's, "Main Street Comics and Games" who wove this all together; most notably Scott Riley. Costume contests, Fanboy Feud, which I was selected as a participant for, and an auction to raise money for "The Hero Initiative," were just a few of the panels at the event. Awesomely enough, they managed to raise $800.

(Fanboy Feud: The Waid's vs. The Dandridge's)

     As a striving artist in the comic book scene, you will quickly learn that the secret to success is about who you know. Whether its an artist who is willing to illustrate a story you wrote, or a friend who can help promote your work, the comic book convention has always been an open door to making new friends. In the previous years, either at C4 or Gem City Comic Con, I had an opportunity to touch bases with a lot of the local talent, it was only by going to these shows that I was able to take a risk at purchasing some of their work. An even better feeling, is seeing them again the following year to talk with them about their stories; and what artist doesn't like a fan-base. Sharing ideas and encouraging one another is the heart of the local comic book community. I would like say that this is true throughout all of the comic book community but it may be too bold of a statement to make. Over the years, many conventions have switched from being about comic books, to more of a costume contest and a meet and greet. Not that those things are bad, but it's just become too expensive.
     Comic books are an art, and somewhere along the line they have been perverted into becoming cash cows; if it's the movies or the cartoons, I really can't say, because I enjoy those too. What I do know is that being able to hang out with good friends, talking with them about what you have a passion for, and being able to pick up some great literature to hold you over for a while is something I really enjoy. At the "Comic Book League" meetings we have at Wright State University each week, I try to make it my goal, as President, to keep our group up to date on local conventions in town. I don't do this to try and make myself look good, or to make someone else get rich; I do it because I know that with the proper motivation and encouragement, each of our members has a talent that is just waiting to be tapped into. But I digress.

 (Dustin Carson, author of "No Gods"; Christopher Kouse)
(Victor Dandridge Jr.; Vantage Inhouse Productions; Christopher Kouse)

     This past Thursday night, before the con, I was given a great opportunity. Wright State University was hosting an event entitled "X-Men: Overcoming Adversity," and I was asked to give a brief 3-5 minute opening of who the X-Men were. Sounds simple enough right? Ha! In all honesty, I was terrified. Not because my knowledge was flawed, but more so because I am not the best of public speakers. However, I knew I had to do this; this was my foot in the door to promote the "Comic Book League," to make new friends, and top of that, I didn't want to look like an idiot in front of, one of my favorite writers, Mark Waid. I also had two fellow promoters of comics in the classroom on the panel, Christy Blanch and "The Doctor" himself, Matt Smith P.H.D. who probably know more about the X-Men that I ever will. Needless to say, the response I got from everyone about my speech was so encouraging. Before the event I had never met Craig This, the director of the event, but somehow I managed to hit on every topic that he had prepared for the panelists to discuss that night. The pieces fell together and I felt renewed about what I was doing as a writer, and who I wanted to become. I can only hope that once I have more free time to work on my own stories that the people I make as friends now, that are in the comic industry, will be there for me when I decide to make that plunge.

(X-Men: Overcoming Adversity panel)
(The first 17 min of the panel discussion, including my speech)

     One final thought; I am sorry my updates have been far and few between lately. I have recently been swamped with work and school. However, I have been reading some pretty awesome stuff lately and look forward to reviewing it all in the coming months. On a positive note, one of my pieces of writing entitled, Jekyll Hyde Banner Hulk was recently published by my school's literary journal, the Nexus. You can read it on this blog or by going clicking HERE. Should you like to follow my work and support me, the best way is to join my facebook group by clicking the icon below. Also, I am always looking for feedback and questions. Thanks.

Wednesday, September 11, 2013

A Literary Analysis on "The Killing Joke"



The Killing Joke, a Literary Analysis

For this literary analysis I chose to look at The Killing Joke, written by Alan Moore and Brian Bolland. Out of all the books I own, my comic book collection makes up at least 75% of it. Out of that 75%, I can honestly say that The Killing Joke has drawn my attention more times than most. I am not one to reread novels, and I find it hard to find one worth reading, especially in this day and age where everything has a movie behind it. I always find myself watching those movies and never picking up the book for fear of already knowing the ending; even when someone says, the book is much better than the film. But that’s never the case when it comes to comic book adaptations. There are so many variations of my beloved characters and stories that it’s almost impossible to find a connection between them and their film correspondents.  Better yet, The Killing Joke’s ending always leaves me questioning what happens after.

People are so quick to disregard comics as a form of literature, not as often now, but they did even more so when they weren’t being projected on the silver screen. However, when we look at the history of the comic book, we can see that they have been deeply rooted in our culture, and have been the benefactors of many novels we have today. The Killing Joke was written in 1988, and this was around the time that comics were taking a drastic overhaul for a new age of readers. It’s important that Batman was no longer seen as the detective portrayed by Adam West, but instead he was becoming much darker and grittier. This was the style of Batman that our generation would fall in love with and what would separate the darkness of Batman from other such heroes as Superman and Wonder Woman. Together, these three would make up the trinity of the DC Comics universe; each acted as a personification that could cross the lines that the others couldn’t.

The Killing Joke might not look like such a literary piece from the outward perspective by reading it once through; honestly, 50 pages of mostly images and very few speech bubbles adds up to about 15 minutes of reading. However, what is literary about it, are the 150+ pages of descriptive writing that Alan Moore originally wrote for those images. As a person who is interested in writing comics for a living, I have to take into consideration that, although the format is much different than the average short story or novel, in order to present my images I have to write in such a way that the artist can visually see every angle of the character in the scene, I have to describe the lighting, the tone, and present how I want this image to lead into the next page; in actuality, the artist becomes my reader. Let’s look at this example of page 5 of The Killing Joke together in connection with what Alan Moore originally wrote.

          “We have now pulled back further into the cell so that we can see the Batman full figured as he stands facing us in front of the now-completely-closed door, still with the light behind his head as he stands with the barred window positioned neatly behind his cowl, throwing his face into darkness. Right in the foreground of the panel we see part of the surface of a fold-down card table that has been folded down from the cell wall and is lit from above by the entrance of an off-panel wall lamp, weak and yellowish and sickly. Entering the panel over on the right are the hands of the person who is sitting just off panel in that direction, facing towards the left and dealing out a hand of patience. The cards, some of which are visible to us here, are spread out in columns on the small table before him, and he is systematically picking up cards from the deck laying them down on one of the columns. Here, we see him with a card poised, about to lay in down on the end row. His hands have long and clever fingers as they deftly manipulate the cards. They are also chalk-white and completely drained of any trace of living color. Batman just stands by the cell door and stares at both us and the off panel owner of the hands.
(No Dialogue.) (The Killing Joke script – pg 10)
            Now that we have looked at an example of the correlation between words and images, we can begin to understand what other aspects of literacy The Killing Joke has to offer us. The next step is to compare how smoothly scenes in a comic blend into the next. While not as transparent in other comics as it is in The Killing Joke, we are able to transition from one scene into the next without confusing the reader. Let’s look at an example of how this is done in The Killing Joke.”

            Notice how in the last two panels, you have the same elements from the past walking the reader back into the present. This can be done in the same literary fashion done in any short story or novel, but most of the time it is done by page breaks. Throughout the rest of The Killing Joke, every scene change is done in this similar fashion, although not all are as easy to spot, and not all are done in a way that is visually similar; just take a look at this scene for instance.

            Notice how in the last panel of the first page and the first panel of the second page has emphasis on the word “Hate.” This, again, allows another smooth transition for the reader to follow without getting lost, but without the use of the same imagery technique. One final example I want to look at shows the breaking of these bonds between scenes. Throughout the book, up to this point, the scene transitions have been focused on our two main characters, Batman or the Joker. At further inspection, we realize that both of these figures have not been seen on the same page as of yet, or at least not depicted as being on even fighting grounds or in the present time period. Let’s take a look at what happens when these two power houses actually meet.
            Their first encounter is quite smashing, literally. Not only do the images show us the raw power of Batman and the cowardice of the Joker but it gives us the impression that the transitions from scene to scene have finally been broken from this point forward in the story; and it’s not too much of a stretch to say that we have really been reading two stories all along (but if you include the Joker’s origin story, it’s really more like three.)

            Finally, we can take a look at spandrels, foreshadowing, and reoccurring themes that appear in comics. The thing to remember is that when dealing with comics, ‘everything ever written is a potential spandrel.’ Comics, when written well enough, become ‘cannon,’ or solidified as part of a character’s history. These ‘canonical’ moments are what flow in between all of the smaller comics and are usually brought up again at some point of time in the characters history, and most often it occurs when it’s under the pen of a different author. This is a great tool that comic writers use in order to keep their readers interested and coming back for more each month with another publication. When Alan Moore wrote The Killing Joke he was out to write a great story that shared the origin of the Joker; but from it he also spawned another ripple in the DC universe, the paralysis of Barbara Gordon. Barbara Gordon, at the time The Killing Joke was written, was the current Batgirl; but after her encounter with The Joker, she took on the persona of Oracle, a wheel chair bound computer genius, who eventually trains another Batgirl and creates the team The Birds of Prey. It is hard to say whether Alan Moore had anticipated that Barbara Gordon would be paralyzed for as long as she was, but it was only until recent that DC Comics actually rewound the clock on these stories in the “New 52” comic lineup.
            Foreshadowing and reoccurring themes play a large part in The Killing Joke. Near the beginning of the book we see Batman, presumably talking to the Joker, trying to avoid the inevitable.
            What is great about this scene is that, like most of Alan Moore’s work, we see in the first few pages, the end of our story. This isn’t a bad thing by any means, it just makes the journey of how we get there all the more memorable; and we have new appreciation for the methodical nature that the author has for his work. Here is the final confrontation in comparison to Batman’s, supposed, first encounter with the Joker.
            How interesting it is that we have a reversal of roles here. Batman, who is never seen to laugh, is laughing, and it is the Joker who is now on the receiving end of a violent act. This makes a great twist of an ending that if very important when making your mark in the literary world; doing the unthinkable. No one would have ever guessed that Batman would end up doing this to the Joker, although on page 7 he tells us right away that this story was going to end in one of two ways, it’s just that we didn’t want to believe that this is how it did end. Not only does this keep the reader’s attention and on the edge of their seats, but the way it was executed leaves the reader guessing as to what comes next. Again, this story is really about the journey and not the beginning or the end, because we already knew that when started reading.