What I Find Insulting About DC Comics’ ‘Three Jokers’ Storyline


Leftist website Polygon tells what the conclusion to Geoff Johns’ Batman: Three Jokers is like, and even if it’s outside whatever’s considered “established” canon (something that got destroyed in the last 20 years), the way this is written sounds mighty fishy:


In Alan Moore and Brian Bolland’s The Killing Joke — more famous for maiming Batgirl than for its Joker backstory — cast a pre-transformation Joker as an unnamed standup comedian struggling to support his pregnant wife. He takes on a gig with some petty thieves to make ends meet, she dies suddenly from some faulty wiring, and the combined trauma mixes together into the grinning man we all see before us today.

Three Jokers throws a twist on that, in a way that’s just as blunt as the last time Johns dabbled in Moore’s oeuvre.

[…] See, in Three Jokers, it turns out that Joker’s wife went to to police to tell them that she was afraid to be around him and afraid he’d hurt her if she tried to leave, and instead of, I dunno, arresting him, the cops “pooled together” some of their own money to help her fake her own death and set up a secret new life in Alaska and then when she was safe still didn’t arrest him and Batman has known about this the whole time.

In case you’re wondering, no, Three Jokers is not set within main DC canon.



It doesn’t matter. This sounds awfully stupid, like a potential insult to authorities as not willing to do their jobs, and probably make the wife (and Batman) out to look bad too, as though all are indirectly responsible for the pain and suffering the Clown Prince of Crime caused only so many people over the past decades. But that’s Johns’ writing for you, from somebody who, not unlike Brian Bendis, gets sugarcoated by the press, even though he’s just as reprehensible a scribe.

This is decidedly another reason to boycott DC, and not just because it’s another example of Batman’s overexposure in the wider pop culture and medium. There’s also two other items on this list I may as well comment on, such as their brief about Immortal Hulk #39:



Just when you think Al Ewing and Joe Bennett probably won’t come up with a new, even worse, body-horror splash page in Immortal Hulk, something like this happens.

And not for the better. I am quite tired of this modern obsession with turning the Hulk’s series into a sleazy excuse for horror thriller material, and am not sure what’s worse: that, or the social justice propaganda it’s been littered with in recent years. On which note, there’s also this indie comic called Wynd that comes up:


Speaking of being sad that it’s over, Wynd — a fantasy comic where magic is a metaphor for queer identity but also is full of queer teens who have cute crushes on each other — had a really solid first arc and I’m only mad that it won’t be coming back until next May.


I’m only sad this is what the market and press has to emphasize these days. There’s doubtless more indie products out there with far more inspiring heterosexual romances involved, yet all sites like Polygon care to promote is something that uses an approach not unlike the SJWs who hijacked the X-Men in over 2 decades. Stuff like this takes the magic out of magic, turning it instead into an ideological platform. We could honestly do without it.

Couple these items with the sugary words Polygon had for the Batman miniseries, and you can see why they’re one of the most dreadfully biased entertainment sites on the web, and don’t need our readership.
Originally published here.

Avi Green

Avi Green was born in Pennsylvania in 1974, and moved to Israel in 1983. He enjoyed reading comics when he was young, the first being Fantastic Four. He maintains a strong belief in the public's right to knowledge and accuracy of facts. He considers himself a conservative-style version of Clark Kent. Follow him on his blog at Four Color Media Monitor or on Twitter at @avigreen1