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Batman: Arkham Knight (Single Issues) #5
Batman: Arkham Knight (2015-2016) #5 (Batman: Arkham Knight
Will the Clown Prince of Crime have the last laugh from beyond the grave? Find out when Harley Quinn is Batman’s only hope to save Commissioner Gordon from the Joker's Last Will and Testament!
23 pages, Kindle Edition
Published March 20, 2015
About the author
Peter J. Tomasi
1,306 books474 followersPeter J. Tomasi is an American comic book writer, best known for his work for DC Comics, such as Batman And Robin; Superman; Super Sons; Batman: Detective Comics; Green Lantern Corps; and Superman/Wonder Woman; as well as Batman: Arkham Knight; Brightest Day; Green Lantern: Emerald Warriors; Nightwing; Black Adam, and many more.
In the course of his staff career at DC Comics, Tomasi served as a group editor and ushered in new eras for Batman, Green Lantern, and the JSA, along with a host of special projects like Kingdom Come.
He is also the author of the creator-owned titles House Of Penance with artist Ian Bertram; Light Brigade with artist Peter Snejbjerg; The Mighty with Keith Champagne and Chris Samnee; and the critically acclaimed epic graphic novel The Bridge: How The Roeblings Connected Brooklyn To New York, illustrated by Sara DuVall and published by Abrams ComicArts.
In 2018 New York Times best-selling author Tomasi received the Inkpot Award for achievement in comics.
In the course of his staff career at DC Comics, Tomasi served as a group editor and ushered in new eras for Batman, Green Lantern, and the JSA, along with a host of special projects like Kingdom Come.
He is also the author of the creator-owned titles House Of Penance with artist Ian Bertram; Light Brigade with artist Peter Snejbjerg; The Mighty with Keith Champagne and Chris Samnee; and the critically acclaimed epic graphic novel The Bridge: How The Roeblings Connected Brooklyn To New York, illustrated by Sara DuVall and published by Abrams ComicArts.
In 2018 New York Times best-selling author Tomasi received the Inkpot Award for achievement in comics.
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Displaying 1 of 1 review
January 9, 2016
Same Old Trick Uniquely Used
A cinematic effect is uniquely used in this particular comic. Melding of visual and verbal forms of expression take you, the reader, from one segment of the story, transitioning to the next. The effect is absorbing. In an image frame appears a dark, hugely constructed complex of buildings, the prison viewed from a couple hundred yards away. In appearance, from that distance and at that angle, the prison complex looks every bit as much a factory as it does it look as would a prison. (You require knowing cinematic techniques to described what goes on within theses pages.) Following it is an image instalment showing the inside of the prison. General activities, of convicts, of construction workers, are shown. At this the character of setting is established: dark, ambiguous, and confining. Next up is an interesting image, producing a unique sense of the place. As these visual frames advance there is an accompanying voice-over talking about topics without direct association. Pictured in the next visual image frame is a wide open space enveloped in black, beyond black -- pitch, the bottom level of the underworld. Inserted into the wall and hall enveloped in pitch is a square opening, barred and illuminated. Yellowish light issues from the opening, passes beyond the prison door bars, flooding, spreading geometrically, over the hall's floor -- a contrast of pitch, light and within it shadows of the prison door bars. From this opening is heard the continued voice over. Now we see the place in which the voiced source speaks. A voice-over balloon seeps from the open but barred prison door. The prison cell's inhabitant has had a omnipresent presence at this point, known by her disembodied voice. Turn the page. You, the reader, are now positioned directly above her, Quinn (I think her name is that), is lying on her cot-like bed, on her back, speaking. She speaks to a homemade dummy who is seated next to her. She pretends the dummy a psychiatrist. The whole time you have been reading her voice-over you read her monologue spoken to the psychiatrist dummy. Appearance -- by the word itself, "appearance" -- of the dummy psychiatrist assumes multiple meanings: Its appearance occurs unexpectedly as does how it appears is unexpected. How it was put together is cleverly conceived. How it appears indicates a level of its creators lunacy. How it appears itself, the dummy looks like a lunatic when it represents her psychiatrist. Crazy fun, this stuff, its conception unique. Good storytelling is demonstrated at every aspect of the comic. So many its other scenes deserve analytical attention as does this one now reported. Like this one now described, a commonly used technique of cinema is employed, and done so uniquely, that of the voice-over with accompanying visual images. Unlike in the cinema, this technique used the voice-over with accompanying visuals ingeniously. You have to experience it for yourself.
A cinematic effect is uniquely used in this particular comic. Melding of visual and verbal forms of expression take you, the reader, from one segment of the story, transitioning to the next. The effect is absorbing. In an image frame appears a dark, hugely constructed complex of buildings, the prison viewed from a couple hundred yards away. In appearance, from that distance and at that angle, the prison complex looks every bit as much a factory as it does it look as would a prison. (You require knowing cinematic techniques to described what goes on within theses pages.) Following it is an image instalment showing the inside of the prison. General activities, of convicts, of construction workers, are shown. At this the character of setting is established: dark, ambiguous, and confining. Next up is an interesting image, producing a unique sense of the place. As these visual frames advance there is an accompanying voice-over talking about topics without direct association. Pictured in the next visual image frame is a wide open space enveloped in black, beyond black -- pitch, the bottom level of the underworld. Inserted into the wall and hall enveloped in pitch is a square opening, barred and illuminated. Yellowish light issues from the opening, passes beyond the prison door bars, flooding, spreading geometrically, over the hall's floor -- a contrast of pitch, light and within it shadows of the prison door bars. From this opening is heard the continued voice over. Now we see the place in which the voiced source speaks. A voice-over balloon seeps from the open but barred prison door. The prison cell's inhabitant has had a omnipresent presence at this point, known by her disembodied voice. Turn the page. You, the reader, are now positioned directly above her, Quinn (I think her name is that), is lying on her cot-like bed, on her back, speaking. She speaks to a homemade dummy who is seated next to her. She pretends the dummy a psychiatrist. The whole time you have been reading her voice-over you read her monologue spoken to the psychiatrist dummy. Appearance -- by the word itself, "appearance" -- of the dummy psychiatrist assumes multiple meanings: Its appearance occurs unexpectedly as does how it appears is unexpected. How it was put together is cleverly conceived. How it appears indicates a level of its creators lunacy. How it appears itself, the dummy looks like a lunatic when it represents her psychiatrist. Crazy fun, this stuff, its conception unique. Good storytelling is demonstrated at every aspect of the comic. So many its other scenes deserve analytical attention as does this one now reported. Like this one now described, a commonly used technique of cinema is employed, and done so uniquely, that of the voice-over with accompanying visual images. Unlike in the cinema, this technique used the voice-over with accompanying visuals ingeniously. You have to experience it for yourself.
Displaying 1 of 1 review