I’ve been on a bit of a Batman kick lately, sparked by my need for more shelf space and my waning interesting in graphic novels. No disrespect to the format; I’ve been leaning heavily on audiobooks and beefy paperbacks lately. While it sounds overarchingly negative, this shifted outlook has a silver lining. I’m discovering Batman stories that might otherwise have festered on my shelves like super-villainy in Gotham. White Knight was a true gem. It deserves a slot among the top Batman tales.
Following an encounter with some mysterious pills, the Joker goes sane. He becomes Jack Napier, and he fights for the rehabilitation of Gotham. The city is ill, and Jack Napier believes he can cure it. His plan includes villainizing Batman to show Gothamites how dangerous the vigilante is and introducing a combined bat-family and police force to combat Gotham’s villains “by the books.” His plan works to an extent, and Batman must grapple with the city’s new perspective on his “heroism.” Meanwhile, Jack Napier must fight off the Joker, who lingers somewhere in his mind, held at bay by the medication he now relies on.
White Knight’s plot fueled much of my enjoyment. I often find graphic novels convoluted or too vague, losing precious storytelling elements in the subtleties of the art form. This is purely a me problem, but if it’s also a problem for you, I think White Knight will tickle your fancy. Sean Murphy wrote and illustrated the story, resulting in a cohesive product. Every panel and every sentence of dialogue work together. White Knight feels energized and cinematic in a way many Batman stories don’t. Each panel builds momentum to the next. It’s an edge-of-your-seat experience with cliffhangers galore.
If the plot is White Knight’s strong foundation, the characters are the towering edifice built upon it. Batman, Joke (Jack), Harley Quinn, and James Gordon form the central cast. Nightwing, Batgirl, Mad Hatter, and Mr. Freeze are among the supporting cast. I always fear cast bloating when I read a superhero story like this, but Murphy manages them all deftly. Each character has a purpose. Some—like a second Harley Quinn—had me scratching my head only to then hook me in on their story till the bitter end. A weaker story might have focused solely on Batman and the Joker. Murphy’s White Knight gives satisfying and meaningful arcs to every character within the book’s pages.
My favorite element by far is White Knight’s exploration of the weird and wonderful relationship between Batman and his arch-nemesis. Their perpetual battle feels like a dog chasing a car (you decide who is who). What would happen if the chase ended? White Knight answers the question by eliminating one of the duo’s necessary parts. With the Joker out of play and Jack Napier—a purported force for good—in the mix, Batman spirals into paranoia and uncertainty. He becomes a reflection of the former Joker and the worst parts of him bubble to the surface. White Knight makes an interesting point here. Batman without the Joker isn’t much help to Gotham. One exists to quell the other. Remove the yin to one’s yang, and the balance is offset. The absence of their tenuous balance then creates opportunities for new villains to rise to the occasion. Batman’s laser-focus on proving Jack Napier is still the Joker makes him lapse, and some villains succeed where, historically, they couldn’t.
White Knight’s themes and ideas are reason enough to read the story. Murphy’s art and Matt Hollingsworth’s coloring make every facet of the story shine with the dark brilliance I’ve come to expect from any Gotham-set story. Put it all together, and you’ve got a top-tier Batman story.
Rating: Batman: White Knight – 9.0/10
-Cole
