Joker becomes the hero Gotham needs.
What if Joker were the hero and Batman the villain? That's essentially the premise behind this new out-of-continuity miniseries from Tokyo Ghost artist Sean Gordon Murphy. White Knight is equal parts Joker: Going Sane and The Dark Knight Returns, focusing both on the Clown Prince of Crime's abrupt return to sanity and a Gotham City that's grown fed up with Batman's brand of vigilante brutality. And while definitely rough around the edges in some ways, this first issue's visual appeal more than makes up for any flaws.
In many ways, Joker's personality change isn't the most compelling plot point in this first issue. Rather, it's Batman's sadistic behavior that offers the greatest opportunity to do something new and different with the franchise. Murphy paints Batman as someone whose methods have grown more reckless and extreme with time, to the point where he's alienating his own partners and even the GCPD. A Batman comic that meditates on police brutality and accountability certainly feels timely right about now. Murphy's script is occasionally awkward and hamfisted in its use of talking head media pundits, but the ambition is appreciated all the same.
As for Murphy's portrayal of Joker, it's clear that White Knight is drawing inspiration from Scott Snyder and Greg Capullo's Batman work. As in "Death of the Family," Joker is painted as a villain obsessed with Batman and determined to better his nemesis by constantly pushing him to his limits. There's a romantic aspect to Joker's Bat-obsession, meaning that Joker becomes a sort of jilted lover after even he decides the Dark Knight has gone too far. This take mostly works. Murphy is obviously trying to paint a more human portrait of the villain, including giving him a name and a vague back-story. But if anything, Murphy tries a little too hard where Joker is concerned. The character's dialogue frequently seems over-written and needlessly lengthy. Nor does this issue justify the amount of time spent explaining Joker's sudden personality shift. Murphy would have been better off just running with the concept rather than dwelling on the build-up.
But again, the art makes up for any scripting flaws in this first issue. Murphy was truly born to draw Batman. His style is so dynamic and slathered in gritty texture that it feels right at home in Gotham City. The city itself is as much a character as Batman or Joker here. Accordingly, Murphy pores massive amounts of detail into his environments. Whether it's the dilapidated buildings in Gotham;s streets, the oppressive scene of batman and Joker's final showdown or Joker's Arkham cell clogged with Batman merchandise, there's a lot of flair to these pages. Murphy also proves once again that he's a master of action and choreography. His Batmobile chase sequence is second to none.
After seeing the early preview art, part of me wishes DC had elected to publish this book in black and white. Art this lavish and detailed doesn't need color to spring to life. But while I'm looking forward to the inevitable Batman Noir: White Knight hardcover, there's no denying that colorist Matt Hollingsworth enhances the impact of Murphy's art here. Hollingsworth takes an almost monochromatic approach. His red hues heighten the already considerable intensity of the Batman/Joker showdown. His bold colors bring out the most in the art without obscuring Murphy's detailed line-work.
The Verdict
In terms of story, Batman: White Knight has a few hurdles to clear before it can live up to its full potential. This first issue has some dialogue problems and dwells too long on setting the stage for Joker's personality change. But it's a promising start all the same, and the gorgeous artwork is worth the price of admission all on its own. Murphy's dynamic, gritty style is perfect for bringing Gotham City and its inhabitants to life.
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