How to Spend Your Money Wisely

There are thousands upon thousands of comic books to choose for library purchase, some written and drawn better than others. There are dozens of genres, ranging from the Super-Hero/Heroine adventure stories to the Western action tales, adult/erotic books, and historical/real life comic fiction. There are hundreds of protagonists, thousands of secondary characters, and millions of story arcs. With comics being around since the 1960’s it’s almost impossible to collect them all (I say almost because I’m pretty sure there’s a guy in his basement with stacks of comics around him), so I’ve chose a comic to start this discussion off: the stand alone graphic novel by Grant Morrison called Arkham Asylum. This choice represents the most popular type of literature being produced by the comic book industry and, I believe, it’s the best representation. I invite everyone else who is interested in compiling a list with myself to message me with different types of comic literature and the reasons why libraries should consider them.

Arkham Asylum

Arkham Asylum, written by Grant Morrison with art and cover by Dave McKean, is a comic that I was conflicted about including. On one hand Arkham Asylum is one of the most critically acclaimed Batman graphic novels of all time. The artwork was revolutionary for its time and the plot, while nothing new, was so eloquently fitting of what comic literature can do if stretch to its limits. On the other hand this is by no means for children. While Batman stories are always violent, this pushes the bounds of what is accepted, with the artwork displaying graphic images of violence and the dialogue ridden with adult themes. Ultimately I chose it for one reason; it’s one of the more self aware, critical pieces of literature I have ever read.

Arkham Asylum starts with Commissioner Gordon informing Batman that the inmates have escaped from the Asylum and will murder the staff unless Batman agrees to meet with them. From there we encounter a story that is marked by pluralism and confusion, as the narratives of Dr. Arkham, which happens in the past, and Batman/Bruce Wayne, which happen in the present, intermingle. Arkham Asylum replicates the ambivalent human mind and heart, “balanced between sanity and madness” (Rollin, 1). The two narratives alternate throughout the story until they momentarily merge at the climax of the tale. What emerges is the overpowering feeling of Batman’s guilt over his mother’s death. Guilt is not a new theme in the Batman story arc; his memory of his parents death helps establish his humanity, a quality that makes him one of the more unique comic book superheroes. But “in the asylum peopled with the criminally insane, where guilt is problematic at best, and set against Arkham’s confused memories of his own mother and her death” the object of guilt becomes something uncontrollable (Rollin, 3). Instead of going insane with guilt, like Arkham does, Batman acknowledges his guilt and uses it to overcome evil, saving the imprisoned staff. Always aware that his actions (dressing up in a cape and cowl) might be the signs of madness, “he acknowledges his weaknesses and wonders about the reliance on disguise and violence to achieve ends” (Rollin, 3). Arkham Asylum is an astoundingly complex work for an astounding complex character.