La historia principal (la recogida en los tres números de la serie limitada "Joker: killer smile" está bien narrada, pero es bastante reiterativa: algunos de los aspectos centrales de la trama han aparecido una y otra vez en anteriores historias de Joker o de Batman. Esto no es inusual, desgraciadamente, en los comics de DC/Marvel, pero la presencia de Lemire en el guión generaba expectativas distintas. En cualquier caso, los diálogos están bien escritos y la narración mantiene el interés. El dibujo de Sorrentino y los colores de Bellaire son, a mi juicio, excepcionales. El comic "Batman: smile killer", que sirve de epílogo, juega con la idea central del libro -las fronteras difusas entre la realidad experimentada por las personas "sanas" y las personas con "alteracione mentales"- de forma eficaz y sin pretensión de resolución. ( )

I like Lemire's independent works well enough, but this foray into DC's toy box irked me tremendously. First, it's like Lemire took a look at Harley Quinn's origin story and decided what was missing was a penis, so he fixed that. (And it's not as if the psychiatrist/psychologist falling into mind-game traps with the Joker was original even with Harley.) It doesn't help that I read this book after the much superiorHarleen, one of my favorite books of the year.

And, hey, if we aren't going to be original, we'd better make sure to cram an Arkham mass breakout into the middle, even if its just for a page or two.

Next, it shouldn't matter, but the artist chose to draw the Joker as an ordinary schlub wearing make-up, perhaps as a tribute to Heath Ledger? If the book weren't in color, this guy would not be recognizable as the Joker until someone addressed him as such.

Three-quarters of the way through the book the main story just ends stupidly, and then we're given some even stupider tie-in or spin-off story with Batman being caught in yet another delusional head game that is either incredibly pointless or (god forbid) is setting up some dumb sequel.

Pure garbage. ( )