![THE BEATLES / REVOLVER : RECORDING SESSIONS CHRONOLOGY =VOLUME 1 - 3 [2CDx3=6CDSET]](https://cdn.shopify.com/s/files/1/0591/4905/8253/products/REVOLVER_RSC1.jpg?v=1669283791)
Pay in installments of $9.74 with
,
and
Shipping Estimate
USA
- USA
- CAN
- USA
- CAN
Ships within 48 hours · Estimated delivery Jul 24 - Jul 29
Promo Codes Available:
For Your Every Summer RSVP, with Code: SUMMER15
Description
THE BEATLES / REVOLVER : RECORDING SESSIONS CHRONOLOGY =VOLUME 1 - 3 [2CDx3=6CDSET]The Beatles "Recording Sessions Chronology" latest work! A compilation of 170 tracks, including valuable outtakes, rehearsals, demos, and demixed sound sources for the first time in 1966, recording the production process in the studio for more than 6 hours in chronological order! ![Original press board imported directly from overseas]Studio outtakes, rehearsals, demos, and demixed sound sources that separate vocals and instruments using the latest AI
The Beatles "Recording Sessions Chronology" latest work! A compilation of 170 tracks, including valuable outtakes, rehearsals, demos, and demixed sound sources for the first time in 1966, recording the production process in the studio for more than 6 hours in chronological order! ![Original press board imported directly from overseas]
Studio outtakes, rehearsals, demos, and demixed sound sources that separate vocals and instruments using the latest AI technology, which can be said to be valuable session records of the revolutionary masterpiece album "Revolver" released by The Beatles in 1966, are compiled in chronological order. The ultimate rare sound source collection "Recording Sessions Chronology" is now available as a 6 CD set! "VOLUME 1" includes Paul's "Experimental Tape", which was interested in avant-garde experiments in March 1966, and the single "Paperback Writer/Rain" released before the album. Includes "Tomorrow Naver Knows", which is symbolic of the reverse rotation and tape loop that decorated the end. “VOLUME 2” started with “And Your Bird Can Thing”, followed by “I’m Only Sleeping”, which produced various mix differences, and “Got to Get You”, which introduced a brass section for the first time. Into My Life", "Yellow Submarine" with groundbreaking sound effects, and "Eleanor Rigby" with separate strings and vocals. ”VOLUME 3” is a demix sound source that separates the vocals and instruments of “Good Day Sunshine”, “Here There and Everywhere”, and “She Said She Said” at the end of the session.・A collection of remixed sound sources that are different from the regular mix as a "remix collection". Includes all songs of the album + Capitol edited mix and a real stereo sound source of the UK mono "Tomorrow Never Knows" (commonly known as Matrix 1), which is known as a separate mix with a long ending. As with the previous series, the existing related sound sources, including newly discovered upgraded sound sources and first-appearing latest remix sound sources, are fully covered in the best quality over a total of 170 tracks in 3 sets of 2 CDs for about 6 hours or more. The ultimate collector's item indispensable for Beatles sound source research that summarizes existing rare sound sources in chronological order! Introducing the latest installment of the hottest studio session culmination series, "Revolver"! !
REVOLVER : RECORDING SESSIONS CHRONOLOGY
VOLUME 1
CD 1
1. EXPERIMENTAL TAPE
2. ELEANOR RIGBY (Demo)
Recorded at Montagu Square, London march 1966
3. HE SAID, HE SAID (Demo)
Recorded at Kenwood, London Sept.1965 / june 1966
4 TOMORROW NEVER KNOWS (Loops)
5. TOMORROW NEVER KNOWS (Take 1 Partial)
6. TOMORROW NEVER KNOWS (Take 1 Nearly Loopess Version)
7. TOMORROW NEVER KNOWS (Take 1 Remix)
8. TOMORROW NEVER KNOWS (Take 3 Backing Tracks)
9. TOMORROW NEVER KNOWS (Take 3 Vocal Tracks)
10. TOMORROW NEVER KNOWS (Extracted Loops Mix)
11. TOMORROW NEVER KNOWS (Track 2 Mix)
Recorded at Abbey Road Studio, London april 6th 1966
12. GOT TO GET YOU INTO MY LIFE (Take 5 Backing Tracks)
13. GOT TO GET YOU INTO MY LIFE (Take 5 Vocal Tracks)
Recorded at Abbey Road Studio, London april 7th 1966
14. GOT TO GET YOU INTO MY LIFE ( Bass Guitar Tracks)
15. GOT TO GET YOU INTO MY LIFE (LOVE Pre-show 2016 Remix)
Recorded at Abbey Road Studio, London April 8/11th 1966
16. LOVE YOU TO (Vocal and Guitar Tracks)
17. LOVE YOU TO ( Sitar And Tabla Tracks)
18. LOVE YOU TO (Bass and Second Sitar Tracks)
19. LOVE YOU TO (Final Overdub Mix)
20. LOVE YOU TO (Mono Mix without Intro)
21. PAPERBACK WRITER (Take 1)
Recorded at Abbey Road Studio, London april 11/13th 1966
22. PAPERBACK WRITER (Take 2)
23. PAPERBACK WRITER (First Vocal Tracks)
24. PAPERBACK WRITER (Second Vocal Tracks)
25. PAPERBACK WRITER (Composite 2 Tracks)
26. PAPERBACK WRITER (Original Mono Mix)
Recorded at Abbey Road Studio, London april 14th 1966
CD 2
1. RAIN ((Backing Tracks)
2. RAIN (Vocal Tracks)
3. RAIN (Reversed Edit Mix)
4. RAIN (Bass Overdub Mix)
5. RAIN (Vocal Overdub Mix)
6. RAIN (Backwords Vocal)
7. RAIN (Backing Vocal Tracks)
8. RAIN (Original Mono Mix)
Recorded at Abbey Road Studio, London april 16th 1966
9. DOCTOR ROBERT (Backing Tracks)
10. DOCTOR ROBERT (Loop Added)
11. DOCTOR ROBERT (Backing Tracks Complete)
12. DOCTOR ROBERT (Vocal and Others Overdub)
13. DOCTOR ROBERT (Vocal Mixdown)
14. DOCTOR ROBERT (Acetate Mix)
Recorded at Abbey Road Studio, London April 17/19th 1966
15. AND YOUR BIRD CAN SING (Take 2 Backing Tracks)
16. AND YOUR BIRD CAN SING (Take 2 Vocal Tracks) 17.
AND YOUR BIRD CAN SING (Take 2 Bass and Overdub Tracks)
18. AND YOUR BIRD CAN SING (Laughter Vocal Tracks)
Recorded at Abbey Road Studio, London April 20th 1966
19. TAXMAN (Backing Tracks)
20. TAXMAN (Vocal Track Edit 1)
21. TAXMAN (Vocal Track Edit 2)
22. TAXMAN (Tambourine and Guitar Tracks)
23. TAXMAN (Vocal Tracks)
24. TAXMAN (Cowbell and Chorus Tracks ) )
Recorded at Abbey Road Studio, London april 21st 1966
25. TOMORROW NEVER KNOWS (Basic Tracks)
26. TOMORROW NEVER KNOWS (Organ Overdub No Guitar Mix)
27. TOMORROW NEVER KNOWS (Backward Guitar)
28. TOMORROW NEVER KNOWS (Vocal-Backward Guitar ) -Piano Mix)
29. TOMORROW NEVER KNOWS (Double Vocal Tracks)
Recorded at Abbey Road Studio, London april 22nd 1966
REVOLVER : RECORDING SESSIONS CHRONOLOGY
VOLUME 2
CD 3
1. AND YOUR BIRD CAN SING (Take 3 False Start)
2. AND YOUR BIRD CAN SING (Take 6 Ending Part)
3. AND YOUR BIRD CAN SING (Take 10 Backing Tracks)
4. AND YOUR BIRD CAN SING (Take 10+6 Bass and Percussion Tracks)
5. AND YOUR BIRD CAN SING (Take 10+ 6 Vocal Tracks)
Recorded at Abbey Road Studio, London april 26th 1966
6. TAXMAN (Acetate Mix)
7. AND YOUR BIRD CAN SING (Acetate Mix)
8. TOMORROW NEVER KNOWS (RM8 Mono Mix)
9. I'M ONLY SLEEPING (Backing Tracks)
Recorded at Abbey Road Studio, London april 27th 1966
10. ELEANOR RIGBY (Studio Chat)
11. ELEANOR RIGBY (Strings Only Tracks)
12. ELEANOR RIGBY (Lead Vocal Tracks)
13. ELEANOR RIGBY (Backing Vocal Tracks)
Recorded at Abbey Road Studio, London april 28/29th 1966
14. I'M ONLY SLEEPING (Vibes Rehearsal)
15. I'M ONLY SLEEPING (Acoustic Rehearsal Take)
16. I'M ONLY SLEEPING (Vocal Edit Tracks)
Recorded at Abbey Road Studio, London april 29th 1966
17. TAXMAN (Acetate Mix Remaster)
18. DOCTOR ROBERT (Acetate Mix Remaster)
Reference Tracks may 1966
19. I'M ONLY SLEEPING (Backwards Guitar)
20. I'M ONLY SLEEPING (2016 LOVE Pre-show Reversed Mix)
21. I'M ONLY SLEEPING (2016 LOVE Pre-show Mix)
22. I'M ONLY SLEEPING (Guitar Overdub)
23. I'M ONLY SLEEPING (Anthology Edit)
24. I'M ONLY SLEEPING (Anthology Vocal Edit)
25. I 'M ONLY SLEEPING (Vocal Tracks)
26. I'M ONLY SLEEPING (Alternate Vocal Tracks)
Recorded at Abbey Road Studio, London may 6th 1966
27. FOR NO ONE (Take 1 Monitor Mix)
28. FOR NO ONE (Take 2 Monitor
29. FOR NO ONE (Take 5 Monitor Mix) 30.
FOR NO ONE (Take 6 Monitor Mix)
31. FOR NO ONE (Take 7/8/9 Monitor Mix)
32. FOR NO ONE (Take 10 Backing Tracks)
33. FOR NO ONE (Clavichord Overdub)
34. FOR NO ONE (Clavichord Only Tracks)
35. TAXMAN (Ending ) Takes 11/12)
36. FOR NO ONE (Vocal Tracks)
37. FOR NO ONE (Take 13 Monitor Mix)
Recorded at Abbey Road Studio, London may 9/16/19th 1966
CD 4
1. GOT TO GET YOU INTO MY LIFE (Brass Tracks Edit)
2. GOT TO GET YOU INTO MY LIFE (Brass Overdub Tracks)
3. GOT TO GET YOU INTO MY LIFE (Vocal and Tambourine Tracks)
4. GOT TO GET YOU INTO MY LIFE (Vocal Only Tracks)
5. GOT TO GET YOU INTO MY LIFE (Double Vocal Tracks)
6. GOT TO GET YOU INTO MY LIFE (Backing Tracks)
7. GOT TO GET YOU INTO MY LIFE (Take 9 Brassless Mix)
Recorded at Abbey Road Studio, London may 18th 1966
8. FOR NO ONE (Bass Only Tracks)
9. FOR NO ONE (Horn Overdub)
Recorded at Abbey Road Studio, London may 19th 1966
10. YELLOW SUBMARINE (Take 1 Studio Chat)
11. YELLOW SUBMARINE (Take 4 Studio Chat)
12. YELLOW SUBMARINE (Backing Tracks)
13. YELLOW SUBMARINE (Vocal Tracks)
14. YELLOW SUBMARINE (Second Vocal and Chorus Tracks ) )
15. YELLOW SUBMARINE (Sound Effects Overdub)
16. YELLOW SUBMARINE (Take 5 Alternate Stereo Mix)
/ YELLOW SUBMARINE (Take 5 Original Mono Mix)
Recorded at Abbey Road Studio, London may 26th / june 1st 1966
17. I WANT TO TELL YOU (Backing Tracks)
18. I WANT TO TELL YOU (Vocal Tracks Edit)
19. I WANT TO TELL YOU (Vocal Only Tracks)
20. I WANT TO TELL YOU (Bass Tracks)
21. I WANT TO TELL YOU (Original Mono Mix)
Recorded at Abbey Road Studio, London june 2nd/3rd 1966
22. YELLOW SUBMARINE (Original Mono Mix)
23. AND YOUR BIRD CAN SING (Original Mono Mix)
24. I'M ONLY SLEEPING (Original Mono Mix)
25. TOMORROW NEVER KNOWS (RM11 Mono Mix)
26. AND YOUR BIRD CAN SING (Alternate Acetate Mix)
Reference Tracks june 6th 1966
27. ELEANOR RIGBY (Ending Vocal Tracks)
28. ELEANOR RIGBY (Backing Vocal and Strings Tracks)
29. ELEANOR RIGBY (Compressed Mix)
30. ELEANOR RIGBY (Vocal Tracks Acetate Mix)
31. ELEANOR RIGBY (Acetate Mix)
Recorded at Abbey Road Studio, London June 6/7th 1966
REVOLVER : RECORDING SESSIONS CHRONOLOGY
VOLUME 3
CD 5
1. GOOD DAY SUNSHINE (Vocal Tracks)
2. GOOD DAY SUNSHINE (Backing Tracks)
3. GOOD DAY SUNSHINE (Piano Overdub)
4. GOOD DAY SUNSHINE (Vocal Inserts)
Recorded at Abbey Road Studio, London june 8/9th 1966
5. SHE SAID, SHE SAID (Demo)
6. HOLD ON, I'M COMING (Demo)
Recorded at Kenwood, London june 1966
7. HERE THERE AND EVERYWHERE (Rehearsals)
Recorded at Abbey Road Studio, London june 14th 1966
8. HERE THERE AND EVERYWHERE (Take 7)
9. HERE THERE AND EVERYWHERE (Guitar Tracks)
10. HERE THERE AND EVERYWHERE (Chorus Edit 1)
11. HERE THERE AND EVERYWHERE (Chorus Edit 2)
12. HERE THERE AND EVERYWHERE (Lead Vocal Tracks)
13. GOT TO GET YOU INTO MY LIFE (Ending Guitar Overdub)
14. HERE THERE AND EVERYWHERE (Take 14 Monitor Playback 1)
15. HERE THERE AND EVERYWHERE (Take 14 Monitor Playback 2)
16. HERE THERE AND EVERYWHERE (Take 14 Monitor Playback 3)
17. HERE THERE AND EVERYWHERE (Take 14 Vocal Tracks)
18. HERE THERE AND EVERYWHERE (Take 14 Monitor Playback 4)
Recorded at Abbey Road Studio, London June 16/17th 1966
19. SHE SAID, SHE SAID (Backing Tracks)
20. SHE SAID, SHE SAID (Vocal Tracks)
21. SHE SAID, SHE SAID (Guitar Tracks)
22. SHE SAID, SHE SAID (Instrumental Mono Mix)
23. SHE SAID, SHE SAID (Acetate Mix)
Recorded at Abbey Road Studio, London june 21st/22nd 1966
CD 6
ALTERNATE REMIX COLLECTION
1. TAXMAN (Rockband Remix)
2. ELEANOR RIGBY (Single Vocal Remix)
3. I'M ONLY SLEEPING (Single Vocal Remix)
4. LOVE YOU TO (Alternate Stereo Remix)
5. HERE THERE AND EVERYWHERE (Single Vocal Remix)
6. YELLOW SUBMARINE (Rockband Remix)
7. SHE SAID, SHE SAID (Alternate Stereo Remix)
8. GOOD DAY SUNSHINE (Alternate Faded Remix)
9. AND YOUR BIRD CAN SING (Rockband Remix)
10. FOR NO ONE (Alternate Vocal Remix)
11. DOCTOR ROBERT (Wide Stereo Remix)
12. I WANT TO TELL YOU (Alternate Stereo Remix)
13. GOT TO GET YOU INTO MY LIFE (Alternate Stereo Remix)
14. TOMORROW NEVER KNOWS (Rockband Remix)
15. PAPERBACK WRITER (Rockband Remix)
16. RAIN (Alternate Stereo Remix ) )
17. I'M ONLY SLEEPING (US Capitol Mono Mix)
18. AND YOUR BIRD CAN SING (US Capitol Mono Mix)
19. DOCTOR ROBERT (US Capitol Mono Mix)
20. TOMORROW NEVER KNOWS (UK Matrix-1 Mono Mix)
21. I'M ONLY SLEEPING (US Capitol Stereo Mix)
22. AND YOUR BIRD CAN SING (US Capitol Stereo Mix)
23. DOCTOR ROBERT (US Capitol Stereo Mix)
24. TOMORROW NEVER KNOWS (UK Matrix-1 Stereo Remix)
Shipping Notes
- Free Standard Shipping on $100+ Orders to the USA.
- Except Preorder products are shipped in 48 hours.
- Delivery to the USA:
- Standard Shipping : 3-10 business days
- If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
- We offer a 30-day return/exchange service after receiving.
- Final sale items are not eligible for returns or exchanges.
- To process your return/exchange, please contact us at [email protected]
- Please click here for more details>>> Return & Exchange Policy
4.1 ★★★★★
Based on 5 reviews
Sort
Product Reviews
★★★★★ 1
One Star
Format: Hardcover
The book I received had 3 pages cut out of it.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on August 17, 2014
★★★★★ 2
Not that great
Huge "The Simpsons" fan. I watched all the episodes and read a lot of the comics and enjoy most. This one however was quite boring. Turns out I'm just not a big fan of Chief Wiggum. I really enjoyed The "Homer" and "Bart" book. But not this one. Maybe if you love Wiggum you'll love it. If you're not too fond of him then I wouldn't buy it.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on March 28, 2013
★★★★★ 3
Good for my collection.
Format: Hardcover
This was another quick and entertaining read. This instalment wasn't as enjoyable as some of the other books but it was still good. I'm glad to have it in my collection.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 27, 2014
★★★★★ 5
Alan Moore Does it Right, and Bolland Art Revision is Amazing
Format: Hardcover
The Killing Joke was a comic spawned shortly after the work of Frank Miller, and is probably the comic that established The Joker as one of the most important fictional villains of the 20th century. Batman had become a well thought out, complex character in recent years, primarily due to the work of skilled writer Frank Miller. Batman had been brought into a gritty, modern world of comic books, but I always felt that Miller's The Dark Knight Returns failed to bring the antagonistic Joker into a new light...well it did, but not in the way the character was meant to be. Alan Moore, with the help of Brian Bolland's stunning artwork helped bring to life what is widely accepted as today's standard for the famous Harlequin of Hate.
He's crazy, he kills people simply for his own twisted sense of humor, but always has a very zany, cartoonish attitude, which I felt was lacking in Miller's interpretation, where Joker seemed much too serious in appearance, dialogue, and action. The Joker presented in this graphic novel truly is a fiendish jester of fate, who for the most part is truly frightening, but never really acts like anything more than a loon. Bolland's art is very helpful in this aspect, not only bringing the Joker's exaggerated, skeletal body to life, but making it perhaps the most anatomically correct Joker ever seen, while still following the style of the 1970s Joker appearances.
The story revolves around the long struggle between Batman and his foe, and their never ending conflict. Joker, having escaped from Arkham Asylum (again), has decided to prove that one bad day can transform any sane man into a monster, such as himself. Taking possession of an old carnival he's ready to do whatever it takes to prove his point, with the assistance of a circus freak show. Meanwhile The Dark Knight questions himself on how this fight will end; coming to the realization that sooner or later one of them would kill the other, unless they tried to reason it out. A hopeless plan by our hero, but he has to at least try a single time to reason with his arch-nemesis, just so he can say he tried.
While Batman leads the hunt for the psychotic clown, Joker decides to prove his theory, kidnapping Commissioner Gordon, and shooting Barbara Gordon (Batgirl) through the spine (she never walks again). This is one of the most villainous acts in the history of comics; simply because of how pointless the shooting was, considering Barbara wasn't even in the character of Batgirl. She was just a bystander who Joker decided to use as a tool for his plot. Everyone is a puppet, or tool in his mind.
He does this act all of this while wearing a stereotypical beach-going tourist's attire, complete with a large camera, the only exception being his wide-brimmed, purple hat, which conceal his eyes. These are the eyes of a madman, and in one of the comic's final pages his eyes are concealed in shadow once again, before they come out and you see him for the hopeless case he truly is.
The story sets the stage for the most widely accepted Joker back-story through a series of flashbacks, showing him as a failed comedian with a pregnant wife, and soon winds up assisting criminals, and falling victim to tragedy. The character is shown to have had one bad day and that is how he ended up as the smiling super villain who has plagued Gotham City for decades. Of course this back-story isn't necessarily true, being that it comes from flashbacks spawned from Joker's mind, and as he famously states in his confrontation with Batman "If I'm going to have a past, I prefer it to be multiple choice!"
Gordon's capture and torture leads to a fight between these two iconic characters, where Batman tries to see if it is possible to reason with Joker logically, but the villain doesn't even try to lie about what is obviously in store for them. He can never be reasoned with, and won't stop until he's dead, and Batman refuses to kill him so it's a sick cycle that goes round and round. In the end of The Killing Joke the roller coaster has only been reset and it will only be a matter of time before Joker is back on the streets, killing again with some new, random scheme which will only make sense to him alone, depending on the mood he's in at the time, or which version of his past he remembers.
Alan Moore's story is sick, it's disturbing, and doesn't fail to leave the reader in a state of awe. The only problem is that by the end you crave for more! The story practically brings you to the point of begging for a sequel, or expansion which will probably never come. This is a one-shot story, and should remain that way, or else the original's impact may be lost. I don't have a single friend who doesn't think The Killing Joke is one of the most twisted, sick, most perfect stories of the comic medium. It's short, but it delivers a powerful punch!
Brian Bolland's art makes this short graphic novel a masterpiece, providing some of the best art ever seen in the characters' long history, only rivaled (in my opinion) by the art of Alex Ross. Joker really is frightening to look at here, because he doesn't look like a real person in most aspects, but Bolland manages to make this character incredibly believable in appearance, without taking any liberties of changing the body type into something more universal. The tall, skeletal body of the 1970s comics is preserved for the most part, except for the narrowing of the chin, which improves the look even further (hence why it's universally used in today's comics).
Recently I got the hardcover anniversary edition of The Killing Joke, with the artwork being edited by Brian Bolland, and re-colored by Bolland personally the way he intended it to be seen. I must say that I love the changes to the colors, more so than the cheery, bright colors of the original, which I felt distracted from Bolland's line-art, because the colors were way too traditional comic book, not fitting the intensity of the art. These colors are dark, gritty, and really captures to mood of the story more effectively than the bright colors of the original release. I especially love the flashbacks being in black and white, except for concentrating on objects that reflect the color red, which leads up to him taking on the garb of The Red Hood, before his first confrontation, leading to his ultimate disfigurement and insanity. This is a seriously talented artist and I only wish he was presented with more opportunities to draw these characters. Batman and Joker look their very best in these images, and I'd be hard pressed to find a comic with better consistency of art quality.
The Killing Joke is one, if not THE best story in the history of Batman comics, and rightfully earns my rating of 10/10 stars.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on November 11, 2008
★★★★★ 5
One REALLY bad day.
Format: Hardcover
"The Killing Joke" is widely considered to be the be-all-end-all of Joker stories, so what better way to pay homage to the greatest comic book villain of all time near the eve of his re-unveiling in
than by reviewing his definitive story? This is the comic that (sort of) revealed the origin of The Clown Prince of Crime, humanizing him to an extent never before, and truly examined -with pictures rather than words- the antagonistic symbiosis that exists between Joker and his arch nemesis, The Batman. A beloved Gotham regular will never be the same and another will be put through hell before this story is done. Oh, and there are creepy little henchmidgets as well. Gotta love the henchmidgets.
The art is outstanding, the storytelling superb, and the character examinations are vital to understanding both combatants. The "one bad day" premise highlights the "two sides of the same coin" argument that Batman and Joker are in fact more alike than dissimilar. As if Bruce Wayne took a right when his arch-nemesis took a left. The controversial ending leaves little doubt as to Alan Moore's take on the debate, and I like it like that. While many critics have strongly resisted both the comparison and the somewhat sympathetic look at The Joker's past, the truth is that every great character -villain or hero- needs that sort of intricacy to their story to remain relevant in the world of modern fiction. Comics are no longer for children and adults realize that the world is seldom black and white, that all monsters were once men, and that unspeakable darkness and insanity resides deep inside each human mind. It can take years of suffering to bring them out or it can take one bad day. One bad day could ruin your very existence and everything you were; it's a frightening reality that cannot be overlooked while reading this comic. The more the reader is willing to ponder the ideas put forth by this story, the more you are likely to appreciate "The Killing Joke". An outstanding achievement in storytelling any way you look at it.
I was tempted to knock this down to four stars because with this book you are buying a single issue of a comic for what you could easily pay for a full trade paperback or graphic novel of equal quality like, say, Frank Miller's
, which is so good it may very well cure cancer (can you prove it doesn't?). But the fact is no Batman fan should be without "The Killing Joke" and I would rather stick to reviewing based on quality rather than haggling over price. The bonus story at the end (written and illustrated by TKJ artist Brian Bolland) is a killer little mini-comic that serves as a perfect companion piece to the main story and definitely sweetens the pot for those wondering if they should get this hardcover edition. "The Killing Joke" is an absolute mindless must-have for fans of the comic book medium and even more so if you claim to be a follower of The Caped Crusader or his twisted nemesis. End of story.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on July 14, 2008