• Story: Geoff Johns
• Art: Jason Fabok
• Colours: Brad Anderson

Well that was a long wait. And was it worth it? The answer is yes, but with reservations. The revelation of the Three Jokers’ existence (including one of their names) was a key plank of Geoff Johns’ then wildly successful Rebirth event, but it’s taken four years to get here and, as with Johns’ Doomsday Clock, has been since set aside from continuity. That in itself isn’t that problematic, but shifting expectations down from a big story with big revelations (with subtextual hints of a connection with Dr Manhattan) to a still powerful morality play, may make the story more timeless, but it still leaves a bitter taste in the mouth. Good thing the writing here is strong and the artwork superb.

Batman, Batgirl and Red Hood track three Jokers separately, are drawn into teaming up, and wander neatly enough through a strong procedural detective story surrounding multiple Joker murders and the theft of chemicals from the site of the Clown Prince of Crime’s creation. It’s a slow but steady book, which allows time for us to look at the three heroic leads’ very different methods and mentalities ahead of one Joker’s unexpected capture. There’s time too for a visual history by Jason Fabok of Bruce’s pain, and it’s pain that appears to unite Bruce, Jason and Barbara in this story – two of the Jokers were responsible for life-altering attacks on them, and one of them has an unrevealed secret. Its revelation looks to be life changing for more than one member of the cast – the ending is quite shocking, but it leaves us no closer to understanding what Bruce learned about his nemesis pre-Rebirth, and I can’t help but wonder if we ever will.

That said, returning to Killing Joke and A Death in the Family under the Black Label banner ostensibly to parallel these three with the three Jokers looks to be clever. What had been building into an epic feels recast as a morality play, and out of continuity there’s no saying what any of the principal characters’ fates will be (one in particular). I’m still hoping for much more of the unexpected next time though – enjoyable as this is, there’s just nothing that surprising. Bruce was shocked by the Joker’s true identity in the New 52 Justice League and it’s odd that there’s no reference to any of this here.

The artwork by Jason Fabok and colours by Brad Anderson are without question worth the wait. I love the frequent use of the classic nine panel grid, giving the presentation a classic feel, and it allows Fabok the room he needs to let these characters breathe. The muted colour palette really lets the linework do most of the hard work, with well judged exceptions like the neon green in the Gotham Aquarium adding a suitably eerie tone for a book whose greater purpose still isn’t clear. It’s right that artwork this good is presented in prestige format, which also makes the book feel important, and my fingers remain tightly crossed Three Jokers’ original raison d’etre hasn’t been completely jettisoned.