Joker and Luthor Discussion Questions

Joker and Luthor by Brian Azzarello are two villain-focused one shot graphic novels. The two have quite different plots but the goal is the same: to give us for once a look behind the scenes of some of the most famous villains of the DC Universe without having to wonder what our golden heroes are up to. Here are the discussion questions:

1. Both graphic novels are focused on villains. Did you feel sympathetic or more understanding of their motives after reading them?

With Luthor, most definitely. Luthor has always been an interesting study in illustrating a villain's legitimate concerns and motives. Joker, not so much. We were not given a first person perspective and all we saw were the usual bouts of craziness that define the Joker's character.

2. Batman and Superman respectively get almost no dialogue in either graphic novel. Was this an artistic choice? Why?

I think if even a small amount of panel time and dialogue were given to the century's biggest superheroes, Batman and Superman, the graphic novel would have lost its focus and readers would be clamoring to see what happens with them instead of the villanous subjects of these graphic novels.

3. Does it seem to you that Batman seems to appear in more Superman one shot graphic novels than vice versa? Why?

In the handful of Superman one shot graphic novels I've read, it seems that Batman is a necessary foil. Superman is the light and Batman is the dark. They have different approaches to the same outcome. Batman for whatever reason does not need that foil as much, perhaps because Batman villains are more relatable than the often otherworldly Superman villains?

4. Lee Bermejo was criticized for modeling Joker after Heath Ledger's portrayal in Joker. Is this criticism legitimate?

There is much hubbub even still as to which came first, but I think the two influenced each other. This portrayal of Joker is so well done that it will be used for the next decade.

5. It was never explained why Joker was released from Arkham. Did this bother you?

I suppose not. It was simply a set up to get the story where it needed to be. Joker is always escaping anyway.

6. Do you agree with Luthor's sentiments that Superman is "not a man" and should be feared? Should the citizens of Metropolis trust Superman's word?

Yes. One of the most compelling elements of Luthor was his argument against Superman. As previously mentioned, the concerns are quite palpable. Metropolis' citizens must weigh the options and decide who is the trustworthy "man" of power.

7. The story in Joker opted for a very simple arc while Luthor delved much more into Lex Luthor's ideals and morals. Did each serve its purpose? Is Joker too simple to justify a more complex story?

My main criticism of Joker was that it got a simple re-seize your lost territory story. Luthor's story arc properly allowed Azzarello to explore Lex's morals and ideas in depth while Joker came off as a lazy one shot that didn't really tell us anything about Joker that we didn't already know.

8. Azzarello chose to frame the story of Joker through the eyes of henchman Jonny. Why not through Joker's perspective?

I'm not sure. Framing it through Joker's perspective would have been a challenging and risky move. Perhaps Azzarello wanted to distance himself from Moore's The Killing Joke which featured the Joker's perspective heavily. Nonetheless, a first person exploration of modern day Joker would have made for a better graphic novel.

9. How can Luthor rail against Superman for not being "human" but turn around and fall in love with his own inhuman creation Hope?

It is definitely hypocritical. I guess in Luthor's mind, he can accept Hope into his life because she is his creation. Perhaps her potential and his pride for her blind him from logic in this case.

10. Why is Superman drawn as so evil? Is he drawn as Luthor sees him or simply more realistically? Is Superman such an image of "good" that a villain-focused story couldn't contain it?

As previously mentioned, had Superman been the "good" epic line delivering Superman, the focus on Luthor would have been lost. Another interesting point brought up by the book club is this is how Luthor always sees Superman. Luthor never sees the quiet and calm Superman. Through his eyes, Superman is a red-eyed angry alien monster.

11. What other villains might warrant an entire miniseries?

Dr. Doom's name was thrown around a bit. Other Batman villains could be interesting such as Riddler or Penguin.

12. What is the significance of the final panels and dialogue between Batman and Joker?

An amazing exchange, perhaps making the entire graphic novel worthwhile. Its about Batman's mask and why he shows his mouth and he mocks Joker's smile. I'm not sure there's a significance, but it is a fantastic microcosm of Joker and Batman's relationship.

Scott Pilgrim series Discussion Questions

Scott Pilgrim is a graphic novel series that was recommended to me by a fellow friend. At first I was creeped out by the similarities between my life and his (bass player, video game nerd, same age!?!?!) but then quickly realized along with a few million others just how charming the series is. Each of the six volumes of Scott Pilgrim are peppered with clever music and video game references and surprisingly deep characterization. Here are some not-very-spoilery questions for the series.

1. Do you think the Scott Pilgrim series has crossover appeal between manga fans and graphic novel fans?

Most definitely. It is practically a gateway into the manga form. It is easy to pick up, Americanized, and short.

2. For those who have seen Scott Pilgrim Vs. The World (the film), compare the relationship between Scott and Ramona in the film versus the graphic novel.

My criticism with the film was that the romance between Scott and Ramona felt sudden and forced. The graphic novels allow more time and space to develop that relationship.

3. Books and graphic novel series' such as Ernest Cline's Ready Player One and Scott Pilgrim have constructed simple stories around a bevy of pop culture references with great success. Are they simply catering to nerds for profit or do these references add depth?

I loved Ready Player One even as a guy who is only nominally familiar with half of the pop culture references made. I think Scott Pilgrim is universally enjoyable and if you get the references that's just icing on the cake. I don't think the references are overbearing or catering too much to nerds, I think it is just a symptom of nerdy thirty something authors.

4. How does Scott's demeanor change throughout the series? What did he learn?

Scott's character is clueless in all senses of the word. He is self-centered and seems unaware that he has hurt Kim and later, Knives. Throughout the series, he must be selfless and help Ramona with her problems to save the world and ultimately get the girl. These events help Scott focus on something other than himself and learn that other people matter. Hence his desire to go through the door with Ramona at the end of the series and tackle whatever lies ahead with her.

5. What is the appeal of Ramona Flowers? Is she just a Manic Pixie Dream Girl? (MPDG defined: "that bubbly, shallow cinematic creature that exists solely in the fevered imaginations of sensitive writer-directors to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures." Example: Natalie Portman in Garden State, Zooey Deschanel in nearly everything, Ramona Flowers?)

I'm not sure what Ramona's appeal is. She seems distant and unpleasant. I guess she is kind of hot. Ramona is most definitely the Manic Pixie Dream Girl archetype, but O'Malley allows her character to grow a bit. I can see why there were Team Kim vs. Team Ramona campaigners while the books were being released, though.

6. What does Kim Pine's role become in the series? What does she do for Scott?

Kim Pine is the catalyst to Scott's character development. She is the one who was hurt by him in the past and when Scott goes to save/visit her, that serves as the push his character needed to break away from his self-centeredness.

7. Brian Lee O'Malley includes a playlist of music that inspired him for each volume. Does knowing the author's inspiration add any personal feeling or depth to the series?

I think knowing O'Malley's muses helps the series along most definitely, especially since music plays an important role in the story. Similar to the previous question about pop culture references, this music knowledge gives the reader a deeper understanding of the author's influences.

8. Subspace goes largely unexplained through the series. Did you simply accept what it did or did this bother you? Why can Ramona access these doors?

I've been reading a lot of books lately that eschew explanations of supernatural occurrences. In this case as well, I don't think a science fiction-y explanation of subspace would have done anything for the story. Scott Pilgrim is above all else, a story focused on characters. The ambiguity in Ramona's origins and powers serves as the most intriguing unsolved mystery of the series (adding to the what happens after the end mystery)

9. What was the driving narrative force of the series? What kept you reading?

Characters, Scott's character arc most definitely. Surprisingly, the fights simply drove the story along but weren't the most compelling part.

10. What is the importance (or non-importance) of changing hairstyles?

It shows the superficiality of Scott's previous girlfriend Natalie/Envy. If she cares that much about Scott's hairstyle, she's probably not a good person to be with. Not sure on Ramona's changing hairstyles, perhaps that she's never solidified in once place and that she isn't happy with being nailed down to one style/thing.

11. How did the Scott Pilgrim film adaptation differ from other comic to film adaptations?


Scott Pilgrim Vs. The World felt more like a nod to the graphic novel series rather than a panel by panel adaptation a la Sin City. The humor and feel of the graphic novels were captured quite well.

12. Do you think Scott and Ramona were meant to be together? Did they stay together?

My book club simply replied, "It doesn't matter," which bugged me. I don't think Scott and Ramona's relationship would last much past the end of the book, but the important lesson is that they both learned to make another person in their lives the center if only for a bit.

Non-cohesive thoughts:

-You know what was cool? The actual hours and names of various locations. Also, that awesome Shepherd's Pie recipe.

-Brian O'Malley's significant other is Hope Larson, author of the graphic novel Mercury

-Edgar Wright, the director of Scott Pilgrim Vs. The World also directed with Shaun of the Dead and Spaced.

Graphic Novel Selections May through August 2012

Hey all, it's that time again to read up and vote upon future selections for the book club. Here are some that came up on various best of lists and some personal favorites:

Habibi by Craig Thompson

Craig Thompson, the author of Blankets, released this 600+ page epic that chronicles a relationship between two unlikely individuals against a backdrop of a cruel and oppressive society. As always, Thompson manages to tell a vastly personal story while drawing similarities to religious subtexts from the Qur'an and the Bible.



Any Empire by Nate Powell

"Nate Powell's follow-up to the Eisner award-winning Swallow Me Whole examines war and violence, and their trickle-down effects on middle America. As a gang of small-town kids find themselves reunited in adulthood, their dark histories collide in a struggle for the future. Any Empire follows three kids in a Southern town as a rash of mysterious turtle mutilations forces each to confront their relationship to their privileged suburban fantasies of violence. Then, after years apart, the three are thrown together again as adults, amid questions of choice and force, belonging and betrayal."



Essex County by Jeff Lemire

"Where does a young boy turn when his whole world suddenly disappears? What turns two brothers from an unstoppable team into a pair of bitterly estranged loners? How does the simple-hearted care of one middle-aged nurse reveal the scars of an entire community, and can anything heal the wounds caused by a century of deception? In Essex County, Lemire crafts an intimate study of one community through the years, and a tender meditation on family, memory, grief, secrets, and reconciliation. With the lush, expressive inking of a young artist at the height of his powers, Lemire draws us in and sets us free."



The Complete Concrete by Paul Chadwick

"Part man, part...rock? Over seven feet tall and weighing over a thousand pounds, he is known as Concrete but is in reality the mind of one Ronald Lithgow, trapped inside a shell of stone, a body that allows him to walk unaided on the ocean's floor or survive the crush of a thousand tons of rubble in a collapsed mineshaft...but prevents him from feeling the touch of a human hand. These stories of Concrete are as rich and satisfying as any in comics: funny, heartbreaking, and singularly human."



Akira series by Katsuhiro Otomo

KANAEEEDAAAAAA! TETSUOOOOOOO! Find out why these characters are always yelling each others names! Japan's most epic and famous manga follows two motorcycling teenagers and their journey to uncover a plot involving nuclear weapons and psychic children/adults. Best known for its vastly confusing anime film that tried to condense 3000 pages of manga into a two hour film. Read the series and ignore the film.



Gotham Central series by Ed Brubaker

Ever wonder what the Gotham Police are up to? Solving crimes, that's what! Batman may be the world's greatest detective, but that doesn't mean the Gotham City Police don't have their hands full with villains like Mr. Freeze and Penguin. This unique series adds an unseen layer of depth to Batman's world.



DMZ series by Brian Wood

"In the near future, America's worst nightmare has come true. With military adventurism overseas bogging down the Army and National Guard, the U.S. government mistakenly neglects the very real threat of anti-establishment militias scattered across the 50 states. Like a sleeping giant, Middle America rises up and violently pushes its way to the shining seas, coming to a standstill at the line in the sand – Manhattan. Or as the world now knows it, the DMZ."



Revolver by Matt Kindt

Revolver deals with duality that comes off as a little bit Seven and a little bit Memento. Unique art and color scheme play into the themes and cerebral plot.



Swamp Thing series by Alan Moore

Alan Moore's famous 1980s run on Swamp Thing turned the series into a creepy and psychological story rather than a plant going around moping or killing other non-plants. Everything from romance to his origins are covered in Moore's newly collected Swamp Thing trades.



Love and Rockets vol. 1 by Los Bros Hernandez

[Love and Rockets vol. 1 is] "the first of three volumes collecting the adventures of the spunky Maggie, her annoying best friend and sometime lover Hopey, and their circle of friends, including their bombshell friend Penny Century, Maggie's weirdo mentor Izzyas well as the wrestler Rena Titanon and Maggie's handsome love interest, Rand Race. Maggie the Mechanic collects the earliest, punkiest, most heavily sci-fi stories of Maggie and her circle of friends, and you can see the artist (who drew like an angel from the very first panel) refine his approach: Despite these strong shifts in tone, the stunning art and razor sharp characterizations keep this collection consistent, and enthralling throughout."

Shortcomings by Adrian Tomine

Shortcomings is a black and white graphic novel that follows the ever-frustrating Ben Tanaka and his dealings with race identity and relationships. Through the lens of a brittle and crumbling relationship with his girlfriend Miko and a literally crumbling movie theater, Tomine attempts to explore these themes in a succinct and creative manner.

1. Tomine's work and other "hip comics" such as the work of Chris Ware and Daniel Clowes focus on what could be considered "first world problems," or conflicts that only effect privileged individuals. What are your thoughts on this statement?

Indie comics most definitely seem to follow young privileged folks with much worse problems to worry about. Is this meant to be satirical? Are authors of these stories similar people? I'd imagine this might be the aspect that turns people away from such a subgenre.

2. How does Tomine construct likeable and unlikable characters? Is anyone likeable?

Ben Tanaka is in my opinion a well-constructed jerk. The reader has to cringe at some of his cruel and unnecessary retorts that have just the slightest bit of truth to them. I liked Alice but I believe that was her purpose, to be the likeable foil.

3. What is the significance of the flowers/stars on the cover?

The same symbols were in the background of the picture of Miko that Ben discovered. I'm having a tough time symbolizing them without digging too deep, perhaps they represent a pattern that Ben and Miko have fallen into and have become unhappy with.

4. The self-centered cinephile, the level-headed gay friend, the aloof Asian girlfriend. Some criticize Tomine for utilizing stereotypical characters and character arcs. What do you think?

I would say that these are likely tropes of the indie comic genre, but I haven't read enough of them to identify or grow tired of them. I thought they were well-constructed relatively believable characters.

5. What does Ben's Asian heritage mean to him? How does this affect his everyday actions? Same question for Miko.

Ben criticizes the Asian stereotypes and ignores his heritage. This is evident in his comment to Miko's lover and the arguments that stem from his pornography preferences.

6. What commentary is Tomine offering on Ben's sexual preferences and the idealized (white, blonde) woman?

As mentioned above, this provides commentary on Ben's relationship with his heritage and also gives the reader insight to the relationship problems he and Miko are having.

7. What did you think about the quality of the dialogue?

Tomine is often praised for his realistic dialogue in graphic novels, I would agree that the dialogue in Shortcomings flows well and believable. The only suspension of belief might be asking yourself if this many twenty somethings are so cynical and quick with witty retorts.

8. Why did Autumn refuse Ben's advances?

It was becoming evident that Ben was not over his relationship with Miko despite her distance and that he had less than commendable reasons for being interested in her.

9. Why does Ben carry himself in such an antagonistic manner? What are the snide comments and chilly exterior hiding?

The snide comments are hiding an insecure thirty year old with a go-nowhere job. Ben is perhaps bitter because his life has plateaued, he seems to need new motivation and new goals.

10. Alice is Ben's only friend. Why does she tolerate him? What do they have in common?

I'm not sure why Alice tolerates Ben, I asked myself this throughout the entire book. They seem to have fun having relatively misogynistic conversations about relationships.

11. What about Tomine's sparse art style lends itself to discussion on race relations?

It is sometimes difficult to ascertain the race of characters in Tomine's art, perhaps by design. I wasn't sure of Miko's lover's race, I'm still not completely sure. Tomine could be saying that the world is becoming a homogenized place or we could be reading into the art too far.

12. What is the significance of the first page and it being a scene from a film?

The first page portrays a cheesy film full of Asian stereotypes. Miko is emotionally moved by it while Ben criticizes it. This easily gives the reader an idea of each character's view on their racial identity.

13. Tomine, like his character Ben Tanaka, is more or less "pessimistic about the possibility of escaping the limitations of socially inscribed identities." Your thoughts?

I think this is universal across many second or third generation Americans with mixed ethnic identities. Despite being a multiracial individual, these folks are still seen as exclusively black, white, Asian, whatever. Tomine likely wrote Shortcomings as a commentary on this societal tendency.

14. Shortcomings ends ambiguously. What have we learned? What will Ben Tanaka do? What should he do?

We have seen the evidence, now it is our part to decide where Ben Tanaka goes next. The hope is that he has seen his own flaws through his relationships and trip out to see Miko, but his character is indeed stubborn.

Chew series by John Layman

Chew is a unique graphic novel series that follows psychic detective Tony Chu. Chu is a cibopath, meaning he can get psychic impressions from whatever he eats whether it is appetizing or not. Chew's world is charmingly food-themed and blends dark humor and clever detective stories. Here are the discussion questions for the upcoming book club:

1. Chew has been criticized for its lack of central driving plot element. Your thoughts?

After reading four trades, it seems to be coming together, but the first few do seem disconnected. The only driving element being of course the food-themed world and that Tony is a Cibopath.

2. How do Layman and Guillory play with the element of sequencing in each issue?

Layman and Guillory like to foreshadow and play with the element of time quite a bit. In one of the trades, they pretended to have a "panel mix up" in which a few of the pages are swapped to allow the reader to see future events.

3. Guillory said he wanted to make Chu the "least stereotypical Asian American ever." What is the importance of this?

I barely noticed that Chu was Asian, so congrats to Guillory. I think this plays into his character even more than race, Chu needed to be a blank slate since he has such a complex power. If his character were to be complex as well, the story would be in danger of becoming muddled.

4. Did you see the Mason Savoy twist coming?

No, actually, despite the fact that he is drawn kind of like Robotnik from Sonic games.

5. Chew has been dismissed as "just another zombie book." Obviously there are no zombies, how would someone draw that conclusion? What is the difference here?

It has the same gore and gross-out elements as a zombie book would and it became successful around the time that The Walking Dead really started growing. The difference is the lack of a post-apocalyptic world and the fact that most characters keep their limbs intact.

6. The psychic detective has been done many, many times especially in television. What separates Chew?

Obviously, the Cibopathic twist. It is quite the television trope, but it is a less common plot element in graphic novels and worth exploring I'd say.

7. Chew is a proposed 60 issue run. How do you think this affects Layman's storytelling and forthcoming issues?

This makes me happy. Series like Fables that continue well past their best story arc irritate me. The fact that there is a planned sixty issues says to me that Layman and Guillory have a planned story arc that they intend to finish.

8. The same people that adapted The Walking Dead are adapting Chew into a half hour comedy series. What makes Chew adaptable for television?

As previously mentioned, Chew follows the common television trope of a psychic detective. The case format works quite well for television, so that would make it easy to form episodic content.

9. What does Guillory's art style lend to Chew? Why does it work?

Guillory's art style is controversial, but I like the dirty lines and cartoonish looks of the characters. It is set in a quirky food-themed world and Guillory's art caters to that perfectly.

10. Chew seems to follow the formula of humor then more serious character development. What is so appealing about this balance to comics writers?

Without making readers care about the characters through mutual humor and development, creating drama is difficult. Hence the tendency to start light and get heavier as the plot thickens.

11. Chew favors an omniscient narrative form. Why this instead of the inner monologue of the psychic detective?

The inner monologue would have been extremely stereotypical and noir-feeling for what is supposed to be a light detective series.

12. Why beets?

Rob Layman has laymanted (ha!) that this question gets asked of him too often. Nobody knows why beets are the only thing that Chu does not get a psychic impression from. Perhaps it will be answered in later issues?

Incognito by Ed Brubaker

Incognito is another entry in Ed Brubaker's continuing series of superhero/noir mashups. In this case, Zach Overkill is a supervillain(hero?) who has been put into witness protection and drugged to subdue his powers after some sensitive testimony against supervillain The Black Death. What follows is a superhero deconstruction in the same vein as Powers and Watchmen. The book club for Incognito will meet on Thursday October 20th at Koelbel Library at 7:00 p.m.

1. What is the importance of Zach's white shirt/black tie get up?


2. What message about the superhero genre is Brubaker trying to send with Incognito?

3. If superheroes did exist in the real world, would they be treated as they are in Incognito? Essentially drugged to inhibit their powers?

4. As evidenced by the office Santa story, Zach enjoys being in costume. Is there any significance to this story or this revelation?

5. Amanda from the office is sexually aroused by superheroes as a result of being saved by one. Is this a realistic result? What does this imply about superheroes in general?

6. Watchmen and Incognito both feature superheroes with relatively "boring" superpowers, i.e. a mask and the ability to fist fight. Both also deconstruct the superhero genre and ask interesting moral questions. Are these arguably more interesting plot lines attributed to featuring a simpler superhero? Do overly complex origins (cough Green Lantern) blur the possibility of strong storylines?

7. In the afterword, Brubaker talks of his plans of continuing the series. For those who have read the sequel, is this a wise decision? Would Incognito have served better as a one shot?

8. Much like Planetary, Brubaker features Lazarus (Shadow-like) and Professor Zeppelin (Doc Savage-like). These alternate superhero universes often feature doppelgangers like this. Does this add to the fictional world or detract?

9. Would you consider Zach Overkill a villain? Why or why not?

10. The idea of living "off the grid" or retiring from superherodom has been explored in many graphic novels. Is it possible or is the allure of fighting crime impossible to resist?

11. Why is each twin slightly different or more evil?

12. Incognito features a bit of recreational drug use. Why is drug use rare in superhero stories?

13. Incognito has been criticized for its "endless plot reveals and revelations toward the end." Do you agree that this was a detraction from an otherwise good story?

Mr. Punch Discussion Questions

Mr. Punch is the third Neil Gaiman graphic novel to make an appearance in our book club (Eternals, Sandman series). This one takes his common themes of childhood abandonment, creepy atmospheres, and memory. McKean lends unsettling multimedia art with visual hints to help the reader decipher the complex story. The book club for Mr. Punch meets on Thursday September 15th at 7:00 p.m. at Koelbel. If these questions seem more clever than usual, we can thank Ms. Elena for her contributions.

1. Why are the actions of adults in this graphic novel ambiguous?

2. What is the effect of the Punch and Judy show on our protagonist the Child?

3. What constitutes children's entertainment? Should it be censored, or scary? How has that idea evolved culturally and over time and what are the implications of that evolution?

4. What would have happened if the Child had donned the Mr. Punch puppet?

5. What is the implication both in the original play and the graphic novel when Mr. Punch not only kills and outwits a policeman and crocodile, but the devil himself? More broadly, what does Mister Punch represent?

6. Consider the puppet show and the narrative. What does one have to do with the other? How does the Punch and Judy show function as a motif? Examine the significance of the title.

7. What is the underlying symbolism of the Mermaid?

8. Consider the idea advanced by the narrator of memories as snapshots. How do you understand this idea within the context of the story?

9. What is the significance of the dream sequence and what impact does it have on the rest of the narrative?

10. Toward the end of the book, the narrator thinks he sees Professor Swatchell. He says “Later it occurred to me that the man i saw could not have been Swatchell. Nobody lives for ever, after all; not even the Devil. Everybody dies but Mister Punch, and the only life he has he steals from others.” What does he mean by that?

11. Why does Mister Punch say, once the Devil is dead, that everybody is free to do whatever they wish? Is that true? Why or why not, and what are the implications?

12. Explain the last line of the book, “I left the churchyard then, shivering in spite of the May sunshine, and went about my life”

13. Gaiman says in his acknowledgements “[t]hank you to my parents and Aunts and Uncles, whose memories, both of Punch and Judy and of my family history, I have so recklessly and shamelessly plundered and twisted to my own purposes.” How does that color your view of the story, if at all?

14. What tone and mood do McKean’s art lend to the story? How would the story feel different if it were illustrated by a more conventional comic artist?

15. Unless the pronoun begins a sentence, the narrator refers to himself with a lower-case “i” Why is that?