Joker

Product Information

Loveless (with Marcelo Frusin (#1–5, 9–10), Danijel Žeželj (#6–8, 13–15, 22–24) and Werther Dell'Edera, 2005–2008) collected as:

Azzarello was one of the architects of First Wave, a new publishing line for pulp characters then-recently acquired by DC Comics, set outside the main DC continuity. He wrote the opening one-shot for the line, Batman/Doc Savage, [20] continuing with the First Wave limited series. [21] In 2011, Azzarello spearheaded The New 52 relaunch of the Wonder Woman series with artist Cliff Chiang. [22] The pair stayed on the title until issue #35 (Dec. 2014). In 2012, Azzarello wrote two limited series for the Before Watchmen project, focusing on Comedian and Rorschach. [23] [24] In 2014, Azzarello became the co-writer of the weekly series The New 52: Futures End along with Jeff Lemire, Keith Giffen and Dan Jurgens. [25] IGN Comics: Some other elements that really stood out were the changes to characters like Killer Croc, the Riddler, Harley Quinn and the Penguin. Can you walk through these villains and the changes you made? Did you envision their emotions and motivations to be different or were these simply cosmetic changes to bring them into this alternate reality? Azzarello began working in comics in 1992, joining Comico as the production coordinator. He was soon promoted to managing editor, before becoming Editor-in-Chief—or, as he was often credited, "line editor"—the position he held from 1993 until the company's demise in 1997. [2] During this period, Azzarello's wife Jill Thompson introduced him to Lou Stathis, an editor at DC Comics' Vertigo who wanted to move away from the light fantasy stories the imprint was known for at the time, and Azzarello was eventually hired as a writer. [1] He contributed short stories to a number of Vertigo's anthology titles and penned Jonny Double, a 4-issue limited series which marked his first collaboration with Argentine artist Eduardo Risso. [3] In August 1999, Azzarello and Risso launched 100 Bullets, a hardboiled noir series for Vertigo. [4] [5] The series ran for one hundred issues, from 1999 to 2009, and was noted for Azzarello's use of regional and local accents, as well as the frequent use of slang and oblique, metaphorical language in his characters' dialogue. Azzarello's other work for Vertigo includes a run on Hellblazer, the 2005 western series Loveless with artist Marcelo Frusin [6] and an original graphic novel Filthy Rich, one of the two titles that launched the Vertigo Crime line in 2009. [7]Death Seeker: Jonny seems to be one as in one scene during the story's midpoint, he is standing on the roof of his apartment building, looking down with a sad expression on his face. He finds it during the story's climax.

They say there's no honor among thieves. I guess that's true. But is that exclusive to thieves? Maybe there's just no honor, period. Oh, Crap!: The look on Joker's face when he finds Croc and his men hogtied, indicating that Batman has finally found him, speaks volumes.Batman vs. Robin: Court of Owls ( Samantha Vanaver, Talon, Owls Lieutenant& Talon Warriors) | Dollmaker Sad Clown: This version of the Joker is generally maniac, but has bouts of depression. If he's not laughing hysterically, he's crying in Harley's arms, or having an 'episode' (breakdown). Bermejo: I see it as a big danger to make everything homogenous no matter what situation. I think that comics can do things movies can't and vice versa. In my opinion, you only expose their weaknesses if you try too hard at making one exactly like the other. Joker may have some cinematic elements, but we certainly never set out to do a "film-esque" comic. It very much plays (I hope) to the strength of the comic medium, which is that it tries to control the way you read it and the speed at which you read and react to certain scenes with a combination of text and art. I've seen a lot of artists attempt to do 'widescreen storytelling', some of them with great results, but ultimately they're still just carefully controlling what you see and how you read it. It may be considered more cinematic but it's still just using the comic book formula to a particular end. Melrose, Kevin (August 22, 2011). "Relaunched Wonder Woman is 'a horror book,' Brian Azzarello says". Comic Book Resources. Archived from the original on August 31, 2012 . Retrieved May 23, 2012. The Joker is one of the great Batman villains. While others from Penguin to Two Face are to be considered dangerous criminals, none match the Joker for sheer bloody minded havoc.

Batman v Superman: Dawn of Justice: Lex Luthor | Anatoli Knyazev | Doomsday | Mercy Graves | Cesar Santos | Amajagh | Joe Chill | Zod | Joker | Steppenwolf Hellblazer (with Richard Corben, Marcelo Frusin, Steve Dillon (#157), Guy Davis (#162–163) and Giuseppe Camuncoli (#168–169), 2000–2002; with Rafael Grampá, 2009) collected as: The book seems to be a more realistic crime tale than a superhero comic, and the tone would fit just about any gritty cop show on tv. Waters, Tom (December 1, 2006). "Rapid Fire With Brian Azzarello". Acid Logic. Archived from the original on June 22, 2013 . Retrieved August 14, 2013. Azzarello cites Jim Thompson and David Goodis among his influences. [29] [30] Personal life [ edit ] Azzarello in 2011Find sources: "Joker"graphic novel– news · newspapers · books · scholar · JSTOR ( July 2019) ( Learn how and when to remove this template message)