DC’s Punchline is out of prison. Acquitted by a jury of her peers, the Joker’s sidekick is out to terrorize Gotham once more — only this time, she’s not content to be a mere foot soldier. This time, she wants it all. Written by Tini and Blake Howard, drawn by Gleb Melnikov, with colors by Luis Guerrero, and letters by Becca Carey, Punchline: The Gotham Game #1 is the start of Clown Countess of Crime’s first solo comic run.
With her newfound freedom, Punchline is determined to take over Gotham’s crime scene by force. But nobody can become Gotham’s Queen of Crime without making a few enemies. Luckily, she might have an ace up her sleeve in this exciting but uneven first issue.
Most comics set in Gotham City end up being fairly dark, but the writing in Punchline: The Gotham Game #1 takes it to another level –almost to the point of mean-spiritedness. There is something almost meta about this issue with its obvious depictions of violence, streamers, their apathetic audiences, and the casting of heroes as villains and villains as heroes. It reads almost as a critique of the ongoing trend in comics, film, and television that casts villains, fictional or otherwise, in a sympathetic light as relatable and admirable figures.
The opening pages of this issue feature the victim’s advocacy agent of the Gotham DA condemning the jury that acquitted Punchline, accusing Gotham and the audience of enabling misanthropy. That same misanthropy is rife throughout this issue. There are pointed barbs relating to influencers, streamers, bloodthirsty internet users, generational bias, and addiction on almost every page. There’s barely a heroic or likable character in this issue. Rex and Regina Quintain, the King and Queen of the Royal Flush Gang, at least have some semblance of humanity and humor, but even they are cast in a sinister light.
Beyond the bleakness, cynicism, and chaos — Punchline: The Gotham Game #1 suffers due to its protagonist. Punchline is an interesting character and a worthy member of the ever-growing Gotham rogues’ gallery. She’s an excellent villain but not the best protagonist. Compare her to Harley Quinn, who, while a villain, was conceived as a tragic, insane character with her own morals and a sense of fun and optimism. This made her a good candidate for redemption, character development, and eventually a heroic arc. Having a villainous character as a protagonist isn’t out of the question. Usually, they have an endgame, a goal, and enough charisma to make them interesting and compelling. By contrast, Punchline seems like she’s just out to hurt as many people as possible for the sake of her ego and lust for power. Despite her fun appearance and hip, modern slang, Punchline isn’t the most pleasant protagonist to follow.
Although its narrative focuses on the ugly side of Gotham, Punchline: The Gotham Game #1 is pretty to look at, thanks to artist Gleb Melnikov’s luscious line art and Luis Guerrero’s vivid colors. Each page has a feverish quality, between Melnikov’s kinetic art style — with its rather cute character designs — perfectly balanced by the unnatural neon colors that make up Guerrera’s palette. The bright colors look straight out of a spray can or hair dye box. They create an alluring yet artificial atmosphere. It’s playful but toxic, further emphasizing Punchline’s unnatural, poisonous nature.
A deeply cynical and unsettling read, Punchline: The Gotham Game #1 has introduced readers to a world with no heroes where the line between story and social commentary is ambiguous at best. Whether Punchline develops beyond being a sadistic vessel of chaos and into a more rounded protagonist is yet to be seen.
