Arkham Asylum: A Serious House on Serious Earth
Arkham Asylum: A Serious House on Serious Earth | |
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ISBN 1779513178 |
Arkham Asylum: A Serious House on Serious Earth (often shortened to Batman: Arkham Asylum) is a
Upon its release, the graphic novel garnered commercial and wide critical acclaim and is considered by many to be one of the greatest Batman stories of all time, and one of the best works in Grant Morrison's career. Morrison's narrative and Dave McKean's artistic style were described as more mature, unique, psychologically-driven and horror-oriented take on the Batman mythos and the distinctiveness from other conventional superhero works.[1] The graphic novel would later become the definitive story of Arkham Asylum, a critical part of the Batman mythos. The critically acclaimed, similarly titled video game Batman: Arkham Asylum, the first game in the Batman: Arkham series, was partially influenced by the graphic novel.[2]
Plot
On April 1,
The Joker forces Batman into a game of hide and seek, giving him one hour to escape Arkham before his adversaries are sent to hunt him down. Through the asylum, Batman encounters
In flashbacks, it is shown that Arkham's mentally ill mother, Elizabeth, suffered delusions of being tormented by a supernatural entity. After believing to have seen the creature himself (a bat), Arkham killed her to end her suffering. He blocked out the memory, only to have it return after an inmate,
Cavendish came to believe that he was destined to continue Arkham's work. On April Fools' Day (the date Arkham's family was murdered), Cavendish released the patients and lured Batman to the asylum, believing him to be the bat Arkham spoke of. He accuses Batman of feeding the evil of the asylum by bringing it more insane souls and they fight, which ends when Adams slashes Cavendish's throat to save Batman.
Batman breaks down the front door of the asylum, proclaiming that the inmates are now free. He returns Two-Face's coin to him, stating that it should be up to him to decide his fate at the hands of the inmates. Two-Face declares that they will kill Batman if the coin lands scratched side up and let him go if the unscarred side lands. He flips the coin and declares Batman free. As the Joker bids Batman goodbye and the police arrives to retake the asylum, Two-Face looks at the coin and it is revealed that it actually landed scratched side up, implying he decided to ignore it. He turns to the stack of tarot cards and knocks them over, reciting a passage from Alice's Adventures in Wonderland: "Who cares for you? You're nothing but a pack of cards".
Conception and influences
The graphic novel was Grant Morrison's first work on Batman, and they would later note that the story was intended to be the start of their own version in the Batman saga.[5] The subtitle A Serious House on Serious Earth is taken from the last stanza of Philip Larkin's poem Line 55, "Church Going", which reads:[4]
"A serious house on serious earth it is,
In whose blent air all our compulsions meet,
Are recognised, and robed as destinies.
And that much never can be obsolete,
Since someone will forever be surprising
A hunger in himself to be more serious,
And gravitating with it to this ground,
Which, he once heard, was proper to grow wise in,
If only that so many dead lie round".
The annotated script is a bonus material printed on every Arkham Asylum graphic novel ever since the 15th anniversary edition (2004), containing Morrison's full script that breaks down and explains much of the symbolic references in the story. The introduction page details the genesis behind Morrison's work coming to fruition:[6]
Morrison and their fellow friend, Jim Clements, were fascinated by
Len Wein ... had written a few short and evocative paragraphs on the history of Arkham Asylum and it was here I learned of poor Amadeus Arkham, the hospital's founder, whose wife and daughter had been murdered by Martin "Mad Dog" Hawkins. In Wein's précis, Arkham's madness was described as a result of the Stock Market crash of 1929. It occurred to me that having one's wife and daughter slaughtered by a man named "Mad Dog" might have been sufficient cause for a nervous breakdown, so I decided to explore and expand on the life of this throwaway character.
— Introduction page of the annotated script.[6]
The intention was to create something that was more like a piece of music or an experimental film than a typical adventure comic book. I wanted to approach Batman from the point of view of the dreamlike, emotional and irrational hemisphere, as a response to the very literal, "realistic" "
left brain" treatment of superheroes which was in vogue at the time, in the wake of The Dark Knight Returns, Watchmen and others.— Introduction page of the annotated script.[6]
Themes and style
The setting of Arkham Asylum plays a large role in how the inmates perceive their own insanity. Morrison conceived the graphic novel's storytelling technique to stay away from the original hardboiled pulp influence of Batman and those seen in American cinema adaptations. Style from European cinema, symbolism, and
The story's themes were inspired by
quantum physics, Jung, and Crowley; its visual style by surrealism, Eastern European creepiness, Cocteau, Artaud, Švankmajer, the Brothers Quay, etc.— Introduction page of the annotated script.[6]
The story is woven tightly around a small number of symbolic elements, which combine and recombine throughout, as if in a dream.
The moon, the shadow, the mirror, the tower, and the mother's son.
The construction of the story was influenced by the architecture of a house — the past and the tale of Amadeus Arkham forms the basement levels.
Secret passages connect ideas and segments of the book. There are upper stories of unfolding symbol and metaphor. We were also referencing sacred geometry, and the plan of the Arkham House was based on the Glastonbury Abbey and Chartres Cathedral. The journey through the book is like moving through the floors of the house itself. The house and the head become one.— p. 2 of the annotated script.[6]
The psychological themes of the Batman villains were deconstructed from their usual style seen in other comics.
Batman in this graphic novel is described as '80s interpretation of the character's violent, driven, and borderline psychopathic when he is driven close to the breaking point as he ventures the entire asylum in the story. Despite the horror-oriented themes, Morrison clarified that the symbolic concept is only for this book alone, and that their future Batman projects would not have the same form of tone.[4][14]
The portrayal of Batman presented here is not definitive and is not necessarily how I would write the character otherwise. The repressed, armored, uncertain and sexually frozen man in Arkham Asylum was intended as a critique of the '80s interpretation of Batman as violent, driven, and borderline psychopathic. My own later portrayal of Batman in the JLA comic was one which emphasized the character's sanity and dignity.
— p. 5 of the annotated script.[6]
Artwork
Dave McKean drew the principal art and the cover art of the Arkham Asylum graphic novel with Morrison supplying their own thumbnail layouts to the artist as guide of how the author wanted the panels in each page to function coherently. In illustrating the story, McKean chose to blend paintings, drawings, photography, and mixed-media collage to come up with striking page designs, and dense symbols.[15] The artist used symbolism, imagery, and surrealism, and many scenes involve the use of symbols to denote a particular psychological device. For example, a Greek inscription can be seen scratched on the doorway of Maxie Zeus's electroshock chamber, which translates into "Discover thyself"; much of the symbolism was later explained and expanded in the annotated script.
Morrison estimated the final product's total page numbers would have been 64 pages. With McKean on board as the artist, the script was subsequently revised and the total page numbers were expanded to 120 pages.
The script became a 64-page book which was later expanded into 120 pages for the final edition. This was due to Dave McKean requiring more pages to complete the story.
— Introduction page of the annotated script.[6]
Collected editions
Arkham Asylum was published in
The 15th anniversary edition was published in hardcover (
The 25th anniversary edition was published in hardcover (
The
The hardcover
Critical reaction and legacy
Upon the graphic novel's release, it became a commercial success and catapulted Morrison and McKean's names in the comic book industry. Editor Karen Berger revealed that it sold "close to a half million copies" by 2004, making it the best-selling original graphic novel in American superhero comics.[15] According to the Grant Morrison website, the series has already sold over 600,000 copies worldwide.[17]
Hilary Goldstein of
Keith Dooley of Comics Authority described it as a "psychologically and visually jarring book [that] brings the reader along with Amadeus Arkham and Batman on their journeys through their psyches in a world full of symbolism",[20] adding also that "Batman, his foes, and all of humanity are greatly affected by the power of symbolism, with this story laying before the reader that these fictional characters' stories are also, in many ways, our stories".[20] Lucas Siegel from Newsarama also praised the comic, describing the art as "striking, beautiful, and yes, today's secret word: disturbing".[21]
Morrison's response
I imagined it being done by someone like Brian Bolland, and my vision was of it being ultra-real to the point of being painful. [. . .] But then when Dave McKean did it it became something quite different, because he wanted to make it more abstract. And I think that in a lot of ways, the ways we both approached it clashed in the middle. [. . .] I think it would have been easier for people to deal with if it had been a lot more concrete. — Morrison disagrees with McKean's artwork rendering. Grant Morrison: Combining the Worlds of Contemporary Comics book, p. 68.
Despite the critical acclaim of the first edition, Morrison was surprised to learn that the graphic novel's success was due to the readers enjoying McKean's art more than the story. Negative criticisms were mainly aimed at the heavy reliance on symbolism, which many found difficult to understand and felt that the story didn't work well together with the art. Morrison did their best to defend all the misunderstood meanings, claiming the real problem was McKean insisting on not wanting to adhere to the original idea at all. The collaboration with the artist was retrospectively interpreted as one where they "clashed and competed with the story's symbolic systems between the script and the art" when both actually envisioned the same story against each other. McKean wanted abstract rendering in his art, which Morrison felt "doesn't have the most terrifying expressions of the real", wishing the panels were all in the same style as most comic book artists regularly illustrate.[22]
The 15th anniversary edition reprinted the story, and Morrison saw the opportunity of supplying the original script and adding annotations to reinforce every metaphor in the story.[23] The annotated script revealed another conflicting factor between the two, and that McKean himself had personal inputs in the script's narrative structure. Some of the acts Morrison originally intended to include in the graphic novel were eventually excluded in the final product.[24] One of the suggestions McKean made was removing Robin from the story as he thought mainly focusing the asylum's uncanny interiors would be sufficient enough rather than adding unnecessary scenes that did not take place inside the mansion itself.
The original first draft of the script included Robin. Robin appeared in a few scenes at the beginning then remained at Police Headquarters for the bulk of the book, where he spent his time studying plans and histories of the house, in order to find a way in to help his mentor. Dave McKean, however, felt that he had already compromised his artistic integrity sufficiently by drawing Batman and refused point blank over for the Boy Wonder — so after one brave but ridiculous attempt to put him in a trench coat, I wisely removed him from the script.
— p. 4 of the annotated script.[6]
Morrison opined that everything in the graphic novel would have been more concrete if McKean hadn't interfered and diminished the original idea into a thin sense of plot. The author also recalled how the script was passed around to a number of professionals in the comics industry for review. Most of them thought the heavy symbolism and psychological horror elements were not only pretentious, but comical, and laughed at the idea. Morrison apocryphally cited a "Who's laughing now, @$$hole?" line in return when the original idea in the script actually does make much more sense than the current final product.[22]
I found out later that the script had been passed around a group of comics professionals who allegedly shit themselves laughing at my high-falutin' pop psych panel descriptions. Who's laughing now, @$$hole?
— Introduction page of the annotated script, only in the 15th and the 25th anniversary editions.[6]
McKean's response
[the story] became sort of a symbolic play. We piled all this stuff on top of it, and dressed it up in its best clothes, and sent it out. Then I sat down afterwards and realized, "Why? Why bother? It's such an absurd thing to do." It's like suddenly realizing the fact that you're desperately trying to work around the subject matter — trying to make the book despite the subject, rather than because of it. At the end of the day, if you really love to do Batman comics, then that's probably the best thing to do. Not liking them, and then trying to make something out of them is just a waste of time.
Also, by the end of it I'd really begun to think that this whole thing about four-color comics with very, very overpainted, lavish illustrations in every panel just didn't work. It hampers the storytelling. It does everything wrong. It's very difficult to have any enthusiasm about it after that.— —McKean criticizing some of the horror tone in Morrison's script and the regular comic book illustration he was tasked to utilize.[25]
Sequel
During the 2017
In other media
In the film
During an interview with ToonZone in October 2015, Batman: Bad Blood director Jay Oliva expressed his interest in making an animated film adaptation of Arkham Asylum: A Serious House on Serious Earth,[30] but Oliva departed from Warner Bros. Animation in 2017 before such adaptation could be made.[31]
The game
References
- ^ a b Perpetua, Matthew. "The Best of Grant Morrison". Rolling Stone. Archived from the original on 2016-03-04. Retrieved 2017-08-24. August 22, 2011
- ^ LeTendre, Brian (April 24, 2009). "Paul Dini Talks Batman: Arkham Asylum". Comic Book Resources. Boiling Point Productions. Archived from the original on November 9, 2013. Retrieved April 2, 2013.
- ^ a b Goldstein, Hilary. "Batman: Arkham Asylum Review". IGN. June 17, 2005
- ^ a b c d e Jackson, Matthew. "COMICS REWIND: 'Arkham Asylum: A Serious House on Serious Earth'". Nerd Bastards. June 11, 2011
- ISBN 978-0-8264-1343-7.
- ^ ISBN 1-4012-0425-2.
- ^ Carr, Alex. "Graphic Novel Friday: The Grant Morrison Interview: All Things Batman (and More)". Shelfari. Archived from the original on 2015-09-07. Retrieved 2014-07-29.
- ^ Duffy, Andrew. "Top 5 Batman Comics #4: Arkham Asylum: A Serious House On Serious Earth". Geek Retreat. Archived from the original on 2016-03-05. Retrieved 2014-08-04. July 20, 2014
- ^ Singer (2011) p. 67
- ^ Singer (2011) p. 68
- ^ Hunt, Matt (29 August 2007). "How the Joker Works?". How Stuff Works.
- ^ Baker, Tom. "10 Things DC Comics Want You To Forget About The Joker". What Culture. Archived from the original on 2014-09-03. Retrieved 2014-08-05. May 30, 2014
- ^ Singer (2011) p. 65
- ^ Singer (2011) p. 52
- ^ a b Singer (2011) p. 64
- ^ a b Kimball, Kirk. "The Treasure Keeper — Part Twelve of Twelve: Into the Asylum!" Archived 2019-08-14 at the Wayback Machine, Dial B for Blog #500 (Sept.). Accessed May 20, 2011.
- ^ Kristan. "Grant Morrison - The Official Website - Comics". www.grant-morrison.com.
- ^ The 25 Greatest Batman Graphic Novels, Hilary Goldstein, IGN, June 13, 2005
- ^ Szadkowski, Joseph. "Batman vs. Joker in Asylum", The Washington Times, Washington, 10 September 2009
- ^ a b Dooley, Keith (31 October 2013). "Arkham Asylum: A Serious House on Serious Earth review". Comics Authority. October 31, 2013
- ^ Siegel, Lucas (August 15, 2008). "Arkham Asylum: A Serious House on Serious Earth review". Newsarama. Archived from the original on December 10, 2015.
- ^ a b Singer, Marc. "A Serious House on Serious Earth: Commentary". I Am NOT the Beastmaster. October 7, 2005
- ^ Singer (2011) p. 54
- ^ Singer (2011) p. 71
- ^ Grant Morrison: From the Asylum to the Star, Nicholas Labarre, Sequart, April 29, 2008
- ^ McMillan, Graeme. "Batman Writer Grant Morrison unveils 'Arkham Asylum 2' Graphic Novel Plans". The Hollywood Reporter. July 20, 2017
- ^ Roberts, Samuel (2 October 2020). "Brave New World's Grant Morrison explains why the sci-fi show matters in 2020". TechRadar. October 2, 2020
- ISBN 978-1-933771-30-4.
- ^ Lesnick, Silas (November 10, 2007). "IESB Exclusive: Heath Ledger Talks the Joker!". The Movie Reporter. IESB.net. Archived from the original on November 11, 2007. Retrieved November 12, 2007.
- ^ "NYCC 2015: "Batman: Bad Blood" Roundtable with Phil Bourassa, Jay Oliva, James Tucker, and Jason O'Mara - ToonZone News". www.toonzone.net. 22 October 2015. Archived from the original on 23 June 2017. Retrieved 18 September 2017.
- ^ "Jay Oliva on Twitter". twitter.com.
- ^ LeTendre, Brian (30 June 2023). "Paul Dini talks about Arkham Asylum". Comic Book Resources. April 24, 2009
- ^ "Making of... Batman: Arkham Asylum". Computer and Video Games. Computer and Video Games. November 23, 2009. Archived from the original on October 19, 2011. Retrieved September 8, 2018.
- ^ Halas, Jacek. "Walkthrough - Batman: Arkham Asylum Game Guide". Game Pressure.
Sources
- Callahan, Timothy (2007) Grant Morrison: The Early Years. Masters of the Medium. Sequart Research & Literacy Organization. ISBN 978-0-615-21215-9
- Khouri, Andy. "Grant Morrison: The Early Years - Part II: Arkham Asylum", Comic Book Resources (July 6, 2007).
- Singer, Marc. (2011) Grant Morrison: Combining the Worlds of Contemporary Comics. University Press of Mississippi. ISBN 978-1-61703-136-6.
External links
- 15th Anniversary edition review at Comics Bulletin Archived 2021-02-24 at the Wayback Machine