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Batman: One Bad Day
Batman: One Bad Day – The Riddler
The Most Dangerous Game of Wits Batman and Riddler have ever played...
The Riddler is one of Batman's most intellectual villains and the one who lays out his clues the most deliberately. The Riddler is always playing a game, there are always rules. But what happens when The Riddler kills someone in broad daylight for seemingly no reason? No game to play. No cypher to breakdown. Batman will reach his wit's end trying to figure out the Riddler's true motivation in this incredible thriller!
The Riddler is one of Batman's most intellectual villains and the one who lays out his clues the most deliberately. The Riddler is always playing a game, there are always rules. But what happens when The Riddler kills someone in broad daylight for seemingly no reason? No game to play. No cypher to breakdown. Batman will reach his wit's end trying to figure out the Riddler's true motivation in this incredible thriller!
88 pages, Hardcover
First published June 20, 2023
207 people are currently reading
1400 people want to read
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Displaying 1 - 30 of 430 reviews
July 17, 2024
Ok. I see what you did there.
One Bad Day is the famous line from Alan Moore's The Killing Joke where Joker claims that everyone is just one bad day away from becoming like him. The comic itself is iconic for several reasons, not the least of which is that it led to Barbara Gordon becoming The Oracle.
So.
A lot to live up to.
And I think it actually did manage it. That's hard to do, and I'm no Tom King fangirl who loves everything he cranks out. He's a 50/50er with me that seems to shit the bed as much as he impresses. But I'm going to tip my hat to him this time around.
I loved it.
I thought Scott Snyder did a good job making Edward Nygma into a threat, but this takes it up a notch. It explains Nygma's obsession with riddles in a way that makes sense and still manages to give him the all-important sympathetic origin story.
You don't want to feel bad for the villain, so when you do, it makes your hatred of what he's doing all the more juicy - at least in a fictitious story.
The art is FANTASTIC. Wow. WOW! I loved it.
The story is FANTASTIC.
THE ENDING IS FANTASTIC.
All of the things I love are just wrapped up in one big fucking Batman tortilla.
I thought everyone was just exaggerating (like they do when it comes to most Batman comics) but this is one that I would 100% shove in anyone's face.
Highly Recommended.
One Bad Day is the famous line from Alan Moore's The Killing Joke where Joker claims that everyone is just one bad day away from becoming like him. The comic itself is iconic for several reasons, not the least of which is that it led to Barbara Gordon becoming The Oracle.
So.
A lot to live up to.
And I think it actually did manage it. That's hard to do, and I'm no Tom King fangirl who loves everything he cranks out. He's a 50/50er with me that seems to shit the bed as much as he impresses. But I'm going to tip my hat to him this time around.
I loved it.
I thought Scott Snyder did a good job making Edward Nygma into a threat, but this takes it up a notch. It explains Nygma's obsession with riddles in a way that makes sense and still manages to give him the all-important sympathetic origin story.
You don't want to feel bad for the villain, so when you do, it makes your hatred of what he's doing all the more juicy - at least in a fictitious story.
The art is FANTASTIC. Wow. WOW! I loved it.
The story is FANTASTIC.
THE ENDING IS FANTASTIC.
All of the things I love are just wrapped up in one big fucking Batman tortilla.
I thought everyone was just exaggerating (like they do when it comes to most Batman comics) but this is one that I would 100% shove in anyone's face.
Highly Recommended.
August 18, 2022
The Riddler has killed a man in broad daylight and left no riddles to help the police or Batman solve the why of the crime. And as more bodies begin to pile up while the Riddler is still behind bars, Batman realizes he may have to uncover secrets from his old foe’s past to uncover the dark truth behind his current game…
Tom King and Mitch Gerads are back together on a Batman book as they team up for what is basically The Killing Joke for The Riddler. If you are one of those people that hates King’s depressing work, well fair warning, you are going to fucking despise this. It’s probably the darkest Riddler story I have ever read and one of King’s darkest stories ever, but also one of his better one-shots and Batman stories too.
King writes a grimy 64-page story where we see a version of The Riddler that has given up his whole gimmick, and this ends up making him the scariest version of the character I’ve ever seen. It's basically King going, "How dangerous could The Riddler be if he didn't stick to his game?", and in a way, it reminded me of a non-shitty and more threatening version of the character we saw in The War of Jokes and Riddles. What ends up happening here is not really the same thing as what Riddler did in The War of Jokes and Riddles though. And if you've read The War of Jokes and Riddles that comparison may seem weird since Riddler is still whipping out riddles throughout that entire story, but I feel it'll make sense once you see where this story ends up going.
I also really liked Mitch Gerads’ art, but he’s always been one of the more consistently great aspects of his collaborations with King. Even if King's story dips at points, Gerads’ art is always a constant pleasure. The only complaint I’d give it here is that it’s starting to get really noticeable when he uses an actor's face as a reference. I saw Jon Hamm, Ethan Hawke, and Olivia Munn all as certain characters and it’s just weird to read. Not a dealbreaker or anything, but I’ve been noticing it more in his work ever since Strange Adventures and it may bother some more.
The 9-panel grid King loves to use may be the main deal breaker for folks too, since it really does get a bit annoying at points. There were also admittedly some scenes on the writing side of things that were a bit too much for me at times since they seemed to give Riddler an absurd amount of plot armor. For example, there’s a scene in Arkham with the guards that I thought was absurdly stupid and schlocky with how it all went down, and it didn't help it was exactly like a scene already done in a shitty Batman Who Laughs comic. But thankfully the ending of the story completely made up for some of the book's weak points, as both the basketball court scenes and the final page itself were solid as fuck.
Overall, I’d recommend this to any fans of the Riddler or Tom King’s work. I could see some long-time fans of the character being annoyed by how his backstory is changed here, but I think this is one of the few interesting Riddler stories we’ve actually gotten in the past decade. I wouldn’t blame others for writing this off as an edgy reimagining of the character, but I personally think it’s more than that. I’d even put it right up there with Zero Year and the Year of the Villain one-shot as my favorite stories with him. This was a solid first outing, and I’m really excited to see what these other creative teams do with the rest of these One Bad Day one-shots.
Tom King and Mitch Gerads are back together on a Batman book as they team up for what is basically The Killing Joke for The Riddler. If you are one of those people that hates King’s depressing work, well fair warning, you are going to fucking despise this. It’s probably the darkest Riddler story I have ever read and one of King’s darkest stories ever, but also one of his better one-shots and Batman stories too.
King writes a grimy 64-page story where we see a version of The Riddler that has given up his whole gimmick, and this ends up making him the scariest version of the character I’ve ever seen. It's basically King going, "How dangerous could The Riddler be if he didn't stick to his game?", and in a way, it reminded me of a non-shitty and more threatening version of the character we saw in The War of Jokes and Riddles. What ends up happening here is not really the same thing as what Riddler did in The War of Jokes and Riddles though. And if you've read The War of Jokes and Riddles that comparison may seem weird since Riddler is still whipping out riddles throughout that entire story, but I feel it'll make sense once you see where this story ends up going.
I also really liked Mitch Gerads’ art, but he’s always been one of the more consistently great aspects of his collaborations with King. Even if King's story dips at points, Gerads’ art is always a constant pleasure. The only complaint I’d give it here is that it’s starting to get really noticeable when he uses an actor's face as a reference. I saw Jon Hamm, Ethan Hawke, and Olivia Munn all as certain characters and it’s just weird to read. Not a dealbreaker or anything, but I’ve been noticing it more in his work ever since Strange Adventures and it may bother some more.
The 9-panel grid King loves to use may be the main deal breaker for folks too, since it really does get a bit annoying at points. There were also admittedly some scenes on the writing side of things that were a bit too much for me at times since they seemed to give Riddler an absurd amount of plot armor. For example, there’s a scene in Arkham with the guards that I thought was absurdly stupid and schlocky with how it all went down, and it didn't help it was exactly like a scene already done in a shitty Batman Who Laughs comic. But thankfully the ending of the story completely made up for some of the book's weak points, as both the basketball court scenes and the final page itself were solid as fuck.
Overall, I’d recommend this to any fans of the Riddler or Tom King’s work. I could see some long-time fans of the character being annoyed by how his backstory is changed here, but I think this is one of the few interesting Riddler stories we’ve actually gotten in the past decade. I wouldn’t blame others for writing this off as an edgy reimagining of the character, but I personally think it’s more than that. I’d even put it right up there with Zero Year and the Year of the Villain one-shot as my favorite stories with him. This was a solid first outing, and I’m really excited to see what these other creative teams do with the rest of these One Bad Day one-shots.
September 16, 2022
What has no beginning, no end and nothing in the middle? (Answer at the end of the review)
The Killing Joke is one of the most famous and bestselling Batman books of all time so it makes sense that DC would model an entire series around it to try to replicate that success for each of Batman’s less-but-still-quite-famous villains.
One Bad Day (a line from Killing Joke) spotlights each of Batman’s rogues in a similar length, done-in-one origin, using the same 9-panel grid format, even going so far as to have an ending that mimics Alan Moore and Brian Bolland’s original classic (at least this one does - not sure how Mariko Tamaki’s Two-Face or John Ridley’s Penguin are gonna play it) .
And Batman: One Bad Day - The Riddler is actually not bad. I’d say it’s Tom King’s best comic since he finished up his run on the main Batman title and probably the best Riddler origin we’re likely to get. Because let’s be real here: we don’t need a Riddler (or Two-Face or Penguin) origin. Killing Joke works because Joker is such a compelling character and most Batman readers want to at least see one possible version of how that mysterious character came to be.
Riddler though - a guy who wears question mark-patterned green suits with a bowler hat, domino mask, cane, and spouts riddles? No. He’s one of the more famous in a long line of performance artist-themed baddies Batman tangles with and he doesn’t need to be much more than that.
So while few people were really gagging for a Riddler origin to rule them all, King manages to finagle a pretty believable origin for old Eddie that makes his riddle obsession both credible and sympathetic, which is a helluva feat. And, while I’m not sure if King put them together or not, the riddles dotted throughout the story are pretty clever. Then again that’s coming from a guy whose all time favourite riddle is: Guess what? Is that even a riddle?
It’s smart of Eddie to switch up his modus operandi - not bothering with riddles anymore, or carefully selecting his victims - to ensure he’s harder to catch this time around, and Mitch Gerads’ design of the character as a Michael Stipe-lookalike is surprisingly effective.
The ending is shocking in how dark it gets but it’s also one step too far in how derivative of The Killing Joke this comic is. From the title to the format, to the references throughout (Eddie reveals his part in what Joker did to Babs in a way that also clicks - King’s really put some thought into this one), it apes Killing Joke just a bit too much and that ending, that matches the original, is a step too far.
I’d have preferred it if King had done his own thing rather than copy Alan Moore to that extent. It’s a bit like JJ Abrams’ Star Trek Into Darkness where, the first time you see it, and assuming you’ve seen the original Wrath of Khan, you can’t quite believe he’s copying the original to that extent, and it detracts from the story he’s telling for that.
For all the brilliant small details in the story, the biggest storytelling choice of making Riddler as powerful as he becomes through his words just wasn’t convincing to me. He goes from being a formidable intellect to practically god-level and the way he covered as many bases as he did was too silly. It’s also contrived as it was the only way to force Batman into that ending.
Batman: One Bad Day - The Riddler is flawed but, considering it’s a Riddler origin, it’s a decent story that cleverly fleshes out the background detail of a tricky character to take this seriously. It’s not saying much but it’s the best Batman comic I’ve read this year and worth checking out for fans of Batman and Tom King.
The Killing Joke is one of the most famous and bestselling Batman books of all time so it makes sense that DC would model an entire series around it to try to replicate that success for each of Batman’s less-but-still-quite-famous villains.
One Bad Day (a line from Killing Joke) spotlights each of Batman’s rogues in a similar length, done-in-one origin, using the same 9-panel grid format, even going so far as to have an ending that mimics Alan Moore and Brian Bolland’s original classic (at least this one does - not sure how Mariko Tamaki’s Two-Face or John Ridley’s Penguin are gonna play it) .
And Batman: One Bad Day - The Riddler is actually not bad. I’d say it’s Tom King’s best comic since he finished up his run on the main Batman title and probably the best Riddler origin we’re likely to get. Because let’s be real here: we don’t need a Riddler (or Two-Face or Penguin) origin. Killing Joke works because Joker is such a compelling character and most Batman readers want to at least see one possible version of how that mysterious character came to be.
Riddler though - a guy who wears question mark-patterned green suits with a bowler hat, domino mask, cane, and spouts riddles? No. He’s one of the more famous in a long line of performance artist-themed baddies Batman tangles with and he doesn’t need to be much more than that.
So while few people were really gagging for a Riddler origin to rule them all, King manages to finagle a pretty believable origin for old Eddie that makes his riddle obsession both credible and sympathetic, which is a helluva feat. And, while I’m not sure if King put them together or not, the riddles dotted throughout the story are pretty clever. Then again that’s coming from a guy whose all time favourite riddle is: Guess what? Is that even a riddle?
It’s smart of Eddie to switch up his modus operandi - not bothering with riddles anymore, or carefully selecting his victims - to ensure he’s harder to catch this time around, and Mitch Gerads’ design of the character as a Michael Stipe-lookalike is surprisingly effective.
The ending is shocking in how dark it gets but it’s also one step too far in how derivative of The Killing Joke this comic is. From the title to the format, to the references throughout (Eddie reveals his part in what Joker did to Babs in a way that also clicks - King’s really put some thought into this one), it apes Killing Joke just a bit too much and that ending, that matches the original, is a step too far.
I’d have preferred it if King had done his own thing rather than copy Alan Moore to that extent. It’s a bit like JJ Abrams’ Star Trek Into Darkness where, the first time you see it, and assuming you’ve seen the original Wrath of Khan, you can’t quite believe he’s copying the original to that extent, and it detracts from the story he’s telling for that.
For all the brilliant small details in the story, the biggest storytelling choice of making Riddler as powerful as he becomes through his words just wasn’t convincing to me. He goes from being a formidable intellect to practically god-level and the way he covered as many bases as he did was too silly. It’s also contrived as it was the only way to force Batman into that ending.
Batman: One Bad Day - The Riddler is flawed but, considering it’s a Riddler origin, it’s a decent story that cleverly fleshes out the background detail of a tricky character to take this seriously. It’s not saying much but it’s the best Batman comic I’ve read this year and worth checking out for fans of Batman and Tom King.
December 25, 2022
Turns out Michael Stipe is The Riddler.
August 27, 2025
"The Riddler was playing a game with Batman. Batman didn't understand the rules of this particular game, it seems. Your husband suffered the consequences." -- Bruce Wayne, attempting to console the grieving widow Mrs. Oates
Oh, there's suffering, alright . . . except it will be experienced by the readers. While writer Tom King has authored some of my favorite DC graphic novels EVER from the last ten or so years - including the pitch-perfect Superman: Up in the Sky, Batman: Rules of Engagement, and Mister Miracle - his latest, One Bad Day - The Riddler, was definitely on the opposite end of that spectrum. Taking a cue from the 2022 cinematic The Batman - in which the longtime rogues' gallery villain The Riddler was refashioned into a plotting, homicidal maniac of sorts - this story has the formerly thieving trickster acting more like the demented Joker crossed with a non-cannibalistic Dr. Hannibal Lecter. Other than an early scene in which Bruce Wayne (who is no stranger to familial tragedy) speaks with a murder victim's wife graveside after a funeral, and a few moments where Batman makes shadowy appearances, I'd rather just forget that I had read this horribly depressing and distasteful narrative.
Oh, there's suffering, alright . . . except it will be experienced by the readers. While writer Tom King has authored some of my favorite DC graphic novels EVER from the last ten or so years - including the pitch-perfect Superman: Up in the Sky, Batman: Rules of Engagement, and Mister Miracle - his latest, One Bad Day - The Riddler, was definitely on the opposite end of that spectrum. Taking a cue from the 2022 cinematic The Batman - in which the longtime rogues' gallery villain The Riddler was refashioned into a plotting, homicidal maniac of sorts - this story has the formerly thieving trickster acting more like the demented Joker crossed with a non-cannibalistic Dr. Hannibal Lecter. Other than an early scene in which Bruce Wayne (who is no stranger to familial tragedy) speaks with a murder victim's wife graveside after a funeral, and a few moments where Batman makes shadowy appearances, I'd rather just forget that I had read this horribly depressing and distasteful narrative.
December 3, 2023
7.8/10
What happens when the Riddler stops playing games? When there are no more puzzles and riddles to solve? When his only goal is to take control of Gotham. Is there a way to stop such a brilliant but diabolical mind? The Dark knight of Gotham is with his back against the ropes. Can he find a way to win, or is he finally defeated?
I like this King's version of the Riddler, feels very threating and scary. The art is very nice too.
What happens when the Riddler stops playing games? When there are no more puzzles and riddles to solve? When his only goal is to take control of Gotham. Is there a way to stop such a brilliant but diabolical mind? The Dark knight of Gotham is with his back against the ropes. Can he find a way to win, or is he finally defeated?
I like this King's version of the Riddler, feels very threating and scary. The art is very nice too.
July 5, 2023
Well then.
That was...violent.
That was...violent.
December 1, 2024
Tom King is nasty.
And I’m talking as in a baseball metaphor, what you say about a pitcher that controls the game. Who makes pitches that flusters, frustrates and simply eludes contact. When other pitchers say, “God damn that’s filthy.” When salty old hitting coaches recommend sitting and waiting for a certain pitch to try and hit, because he’s going to paint the corners, change location and speed, throwing whiffle ball breaking pitches and four seamers that rise into the three digit stratosphere. Unhittable.
Tom King is that kind of nasty on the pages of comics. Even more so when he’s writing for DC. All the more when a certain masked vigilante is involved.
I dig Tom’s work but I’m no fanboy, I don’t love everything he writes, but when he is good he is very good. If I’m looking for a writer who can drive the Batmobile, I’m coming to the table with King every damn time.
This series is also damn good. Taking inspiration from El Hombre himself Alan Moore, who had Joker pose the idea that we’re all just one bad day from being a monster, King takes on the Riddler’s Day with verve and a freight train of evil that gives Joker a run for his money.
The art by Mitch Gerards is reminiscent of his work with King on Strange Adventures and Mister Miracle (neither of which were favorites) and works great for this gritty tale of Riddler doing his thing and calling out Bruce to question what doing the right thing means.
But! Riddle me this: why make our antagonist look like Michael Stipe? Now I’ll listen to REM differently.
Hell yeah, King for the win.
And I’m talking as in a baseball metaphor, what you say about a pitcher that controls the game. Who makes pitches that flusters, frustrates and simply eludes contact. When other pitchers say, “God damn that’s filthy.” When salty old hitting coaches recommend sitting and waiting for a certain pitch to try and hit, because he’s going to paint the corners, change location and speed, throwing whiffle ball breaking pitches and four seamers that rise into the three digit stratosphere. Unhittable.
Tom King is that kind of nasty on the pages of comics. Even more so when he’s writing for DC. All the more when a certain masked vigilante is involved.
I dig Tom’s work but I’m no fanboy, I don’t love everything he writes, but when he is good he is very good. If I’m looking for a writer who can drive the Batmobile, I’m coming to the table with King every damn time.
This series is also damn good. Taking inspiration from El Hombre himself Alan Moore, who had Joker pose the idea that we’re all just one bad day from being a monster, King takes on the Riddler’s Day with verve and a freight train of evil that gives Joker a run for his money.
The art by Mitch Gerards is reminiscent of his work with King on Strange Adventures and Mister Miracle (neither of which were favorites) and works great for this gritty tale of Riddler doing his thing and calling out Bruce to question what doing the right thing means.
But! Riddle me this: why make our antagonist look like Michael Stipe? Now I’ll listen to REM differently.
Hell yeah, King for the win.
September 29, 2023
This ain't your Pappy's Riddler, is all I'm gonna say.
October 21, 2024
Overall this was a fun and fast read. The entire story had a dark, twisted, and ominous feel to it. Coupled with the darker and green-hued artwork it provided a decent yet demented & psychological story.
The paralleled story with the flashbacks on the origins of The Riddler was fun to see and read. I recently discovered this One Bad Day series and I plan to read the rest. Cool story and recommended for DC-Batman fans and graphic novel/comic book fans. Thanks!
The paralleled story with the flashbacks on the origins of The Riddler was fun to see and read. I recently discovered this One Bad Day series and I plan to read the rest. Cool story and recommended for DC-Batman fans and graphic novel/comic book fans. Thanks!
August 20, 2022
Excellent dark and twisted riddler. The art by Mitch makes this grim tale even better. The ending is one of my faves. And the flashbacks are perfection.
July 26, 2023
DC just can't quit Alan Moore.
Based on this entry, the Batman - One Bad Day event seems to be an attempt to remix Batman: The Killing Joke with eight other members of Batman's rogues gallery.
Tom King -- who has gotten a lot of mileage out of recycling Moore already in his Batman run and his Rorschach limited series -- slots Riddler into Moore's masterpiece, with the present day storyline seeming to offer an ultimate confrontation and a debatable conclusion to his relationship with Batman as the flashbacks give the villain a definitive origin rooted in psychological torment. The Riddler even directly addresses the events of The Killing Joke at one point.
King and artist Mitch Gerads are no Moore and Brian Bolland (who provides a variant cover included on the back of the hardcover edition I read) but they are quite skilled, and I found myself pulled into the tale even despite the constant need to compare. It's dense storytelling for a comic book and there are still some aspects I'm working out, but I'm quite satisfied with this particular knock-off.
Based on this entry, the Batman - One Bad Day event seems to be an attempt to remix Batman: The Killing Joke with eight other members of Batman's rogues gallery.
Tom King -- who has gotten a lot of mileage out of recycling Moore already in his Batman run and his Rorschach limited series -- slots Riddler into Moore's masterpiece, with the present day storyline seeming to offer an ultimate confrontation and a debatable conclusion to his relationship with Batman as the flashbacks give the villain a definitive origin rooted in psychological torment. The Riddler even directly addresses the events of The Killing Joke at one point.
King and artist Mitch Gerads are no Moore and Brian Bolland (who provides a variant cover included on the back of the hardcover edition I read) but they are quite skilled, and I found myself pulled into the tale even despite the constant need to compare. It's dense storytelling for a comic book and there are still some aspects I'm working out, but I'm quite satisfied with this particular knock-off.
August 18, 2022
The Riddler is my favorite bat-villain, so I've been super stoked to read this as he often doesn't get proper representation as the threat he can be to the caped crusader. And for the last several months, it's been hyped as the story that reveals The Riddler's true threat level.
Unfortunately, this one off story is a bit of a let down, serving not as an interesting question answered but more of a transparent, watered down rehash of The Killing Joke featuring the Riddler instead.
Funny enough, the story addresses that book early on with Edward taking credit for the planning that went into the incident of TKJ. Yet the question posed by the book's story is that of The Killing Joke, with the same response given in the guise of a cryptic (though not so much here) conclusion in which Batman breaks his one rule, already tragically answered more successfully with Moore's now iconic outing.
Yet if that's the case, then already the logic is wrestling with itself as Riddler's challenge is under the assumption Batman won't kill. Ironically, much like in Edward's flashback story to his school years where he cheats, only to answer a riddler incorrectly on a test, the same is achieved by King. He poses one question to the readers, and cheats by looking off Alan's Moore's test, only to fail in getting it right. And, while the artwork is nice, it too tends to directly lift too often from celebrities "cast" as these characters. A fun tradition in comics to be sure, but here it was done to the point that it appeared as a movie adaptation.
There are some great lines given and some interesting ideas presented, but The Riddler is devolved into a violent, hodgepodge of a character made up of other, more hands on baddies in Batman's rogues gallery. The classy gent who's wits are sharpened to a deadly edge winds up abandoning mind over matter and choosing the sword over the pen, all in a poor attempt to shock and dismay both Batman and the reader. In the end, the character represented bears little spiritual resemblance to Edward, only to become a villain wanting to be on par with Hannibal Lecter yet pailing in comparison.
I REALLY wanted to like this, but honestly this falls into the current traps major comic releases seem to keep falling into, that being taking past successes and rehashing them again and again into thinly veiled copies, each one with less resolution. Then again, this series of One Bad Day books was already on thin ice to begin with. I love these characters; it's a shame I often have my hopes dashed when it comes to new releases.
This story does manage to answer one question. What does a fearful book copied from fearless ideas look like?
Riddles are fun, but this book isn't.
Unfortunately, this one off story is a bit of a let down, serving not as an interesting question answered but more of a transparent, watered down rehash of The Killing Joke featuring the Riddler instead.
Funny enough, the story addresses that book early on with Edward taking credit for the planning that went into the incident of TKJ. Yet the question posed by the book's story is that of The Killing Joke, with the same response given in the guise of a cryptic (though not so much here) conclusion in which Batman breaks his one rule, already tragically answered more successfully with Moore's now iconic outing.
Yet if that's the case, then already the logic is wrestling with itself as Riddler's challenge is under the assumption Batman won't kill. Ironically, much like in Edward's flashback story to his school years where he cheats, only to answer a riddler incorrectly on a test, the same is achieved by King. He poses one question to the readers, and cheats by looking off Alan's Moore's test, only to fail in getting it right. And, while the artwork is nice, it too tends to directly lift too often from celebrities "cast" as these characters. A fun tradition in comics to be sure, but here it was done to the point that it appeared as a movie adaptation.
There are some great lines given and some interesting ideas presented, but The Riddler is devolved into a violent, hodgepodge of a character made up of other, more hands on baddies in Batman's rogues gallery. The classy gent who's wits are sharpened to a deadly edge winds up abandoning mind over matter and choosing the sword over the pen, all in a poor attempt to shock and dismay both Batman and the reader. In the end, the character represented bears little spiritual resemblance to Edward, only to become a villain wanting to be on par with Hannibal Lecter yet pailing in comparison.
I REALLY wanted to like this, but honestly this falls into the current traps major comic releases seem to keep falling into, that being taking past successes and rehashing them again and again into thinly veiled copies, each one with less resolution. Then again, this series of One Bad Day books was already on thin ice to begin with. I love these characters; it's a shame I often have my hopes dashed when it comes to new releases.
This story does manage to answer one question. What does a fearful book copied from fearless ideas look like?
Riddles are fun, but this book isn't.
This entire review has been hidden because of spoilers.
August 15, 2023
The Riddler is one of the most interesting Batman villains, and he gets a chance to shine in this story. In this, the Riddler changes his methods, which throws Gotham into a crisis. The art is fantastic. The writing is mature and a bit dense at times, but that gives readers a lot to think about.
August 18, 2022
Seems to fundamentally misunderstand Edward’s internal motivations and reasons whilst taking every possible opportunity to needlessly remind us that this version of the Riddler, and apparently everybody else, is sexist.
Made sure to mention Barbara, Stephanie, and Cassandra, only to remind us that he sees women in particular as disposable and to be used to impact the men they’re connected to.
As usual, King has attempted to bend the character to the same story he feels the need to tell over and over.
Perhaps if I was unaware of who the Riddler was I might even found it tolerable. Deeply disappointing read.
Made sure to mention Barbara, Stephanie, and Cassandra, only to remind us that he sees women in particular as disposable and to be used to impact the men they’re connected to.
As usual, King has attempted to bend the character to the same story he feels the need to tell over and over.
Perhaps if I was unaware of who the Riddler was I might even found it tolerable. Deeply disappointing read.
August 20, 2022
Alan Moore tends to mythologized. This is bound to happen when you’re creating material in an era where fans are open to openly enjoying what they enjoy. Which is not an era in which we now live. Today it’s hard to tell what’s good material, because the only things people admit to enjoying are almost exclusively, to cynical eyes, common fare. Which is to say, in some eras it’s okay to like material that challenges, and in others it is not, and when Alan Moore was at his peak, he was considered one of the most challenging creators, and admired for it, and today we have Tom King, one of the most challenging creators of his era, and at least these days, he doesn’t get much love. So when he writes something like Batman: One Bad Day - The Riddler, which is a clear riff on Moore (same as Rorschach), you can compare and contrast.
Moore’s Killing Joke is famous (or infamous) for three things: it’s an origin story for the Joker, it features the Joker crippling Batgirl, and Batman apparently kills the Joker. Surprisingly, the most lasting element of the three was crippling Batgirl. For years she was wheelchair-bound, renamed Oracle, a totally different character. There’s still no definitive origin of the Joker, and he obviously didn’t die, no matter how many fans interpret the ending that way. Christopher Nolan riffed on the origin thing, brilliantly, in The Dark Knight, later. And at any rate, the comic is still viewed as one of Moore’s crowning achievements.
King references it directly in this. He has Riddler claim he gave the Joker the idea to attack Batgirl. He gives an origin to the Riddler. And he has Batman apparently kill the Riddler.
The question of whether any of this sticks is, at this point, moot. DC has distanced itself from a strict continuity, which is a process that began at the time Moore was writing things like Killing Joke, ironically just a few years after the “permanent streamlining” of Crisis on Infinite Earths. By allowing creators to tell bold stories (such as The Dark Knight Returns), DC was opening itself to letting the quality of the storytelling itself dictate what was publishable. For a while, there was a handy label, Elseworlds, that tucked all of it safely into little corners. But today, apart from the attempt to mask some of it under the “mature reading” Black Label, I don’t see the company making much of a fuss about it. The material is the material. King also finally had Batman marry Catwoman, but you won’t find that in common continuity.
And it doesn’t matter. So King explains the Riddler. And makes him the most dangerous man in Gotham. I’ve already seen some doubt that this is remotely possible, this despite a major theatrical release from earlier this year, The Batman, doing much the same. Some people just want to make it okay, for themselves, to dismiss whatever Tom King does.
How did he become obsessed with riddles? And what happens when he stops?
I just read the final issue of King’s Batman: Killing Time, which posits that the whole point of the story was to explain why a Batman villain plots insanely elaborate crimes. Basically, he concludes, it’s to, well, kill time. Because they can.
And that’s basically how King writes all his comics. A lot of readers just want straightforward comics, that do what comics have always done, which is to just have superheroes fighting supervillains. Period. King tends to ask questions about why they’re doing it, not just to get pesky origin stories out of the way, flimsy motivation, thin psychology. He digs deeper. He makes his characters human, capable of existing in the real world. Not just in the Marvel method of slapping on the veneer, but stepping out of the mold and observing.
Of course he still has outlandish, stylized touches. The whole point of using the Riddler at all, with this one, is that King clearly loves making up riddles, referencing history, literature, songs, and that’s his way of being theatrical, which in the hands of others is merely prancing costumes and fisticuffs, or sensationalism. And he has certainly been accused of shock tactics himself, but critics who contend he uses only shock tactics are willfully ignoring everything else, including how he uses them.
When Catwoman left Batman at the altar, or Bane killed Alfred, or KGBeast shot Nightwing, there was a grand arc working around those moments. When King transforms the Riddler into an object of terror, and spends little time on Batman himself, and yet concludes the story on an action Batman takes, it’s because he knows the reader already knows Batman, but didn’t know Riddler, so that “one bad day,” in which he meets his mother, and snaps, is the inverse of Batman, and the inverse of what Batman usually is, is what follows.
I think the storytelling is sound, as it usually is with King. I think it’ll be worth revisiting. I think people will remember it as a definitive Riddler story.
Moore’s Killing Joke is famous (or infamous) for three things: it’s an origin story for the Joker, it features the Joker crippling Batgirl, and Batman apparently kills the Joker. Surprisingly, the most lasting element of the three was crippling Batgirl. For years she was wheelchair-bound, renamed Oracle, a totally different character. There’s still no definitive origin of the Joker, and he obviously didn’t die, no matter how many fans interpret the ending that way. Christopher Nolan riffed on the origin thing, brilliantly, in The Dark Knight, later. And at any rate, the comic is still viewed as one of Moore’s crowning achievements.
King references it directly in this. He has Riddler claim he gave the Joker the idea to attack Batgirl. He gives an origin to the Riddler. And he has Batman apparently kill the Riddler.
The question of whether any of this sticks is, at this point, moot. DC has distanced itself from a strict continuity, which is a process that began at the time Moore was writing things like Killing Joke, ironically just a few years after the “permanent streamlining” of Crisis on Infinite Earths. By allowing creators to tell bold stories (such as The Dark Knight Returns), DC was opening itself to letting the quality of the storytelling itself dictate what was publishable. For a while, there was a handy label, Elseworlds, that tucked all of it safely into little corners. But today, apart from the attempt to mask some of it under the “mature reading” Black Label, I don’t see the company making much of a fuss about it. The material is the material. King also finally had Batman marry Catwoman, but you won’t find that in common continuity.
And it doesn’t matter. So King explains the Riddler. And makes him the most dangerous man in Gotham. I’ve already seen some doubt that this is remotely possible, this despite a major theatrical release from earlier this year, The Batman, doing much the same. Some people just want to make it okay, for themselves, to dismiss whatever Tom King does.
How did he become obsessed with riddles? And what happens when he stops?
I just read the final issue of King’s Batman: Killing Time, which posits that the whole point of the story was to explain why a Batman villain plots insanely elaborate crimes. Basically, he concludes, it’s to, well, kill time. Because they can.
And that’s basically how King writes all his comics. A lot of readers just want straightforward comics, that do what comics have always done, which is to just have superheroes fighting supervillains. Period. King tends to ask questions about why they’re doing it, not just to get pesky origin stories out of the way, flimsy motivation, thin psychology. He digs deeper. He makes his characters human, capable of existing in the real world. Not just in the Marvel method of slapping on the veneer, but stepping out of the mold and observing.
Of course he still has outlandish, stylized touches. The whole point of using the Riddler at all, with this one, is that King clearly loves making up riddles, referencing history, literature, songs, and that’s his way of being theatrical, which in the hands of others is merely prancing costumes and fisticuffs, or sensationalism. And he has certainly been accused of shock tactics himself, but critics who contend he uses only shock tactics are willfully ignoring everything else, including how he uses them.
When Catwoman left Batman at the altar, or Bane killed Alfred, or KGBeast shot Nightwing, there was a grand arc working around those moments. When King transforms the Riddler into an object of terror, and spends little time on Batman himself, and yet concludes the story on an action Batman takes, it’s because he knows the reader already knows Batman, but didn’t know Riddler, so that “one bad day,” in which he meets his mother, and snaps, is the inverse of Batman, and the inverse of what Batman usually is, is what follows.
I think the storytelling is sound, as it usually is with King. I think it’ll be worth revisiting. I think people will remember it as a definitive Riddler story.
June 5, 2025
"All it takes is one bad day to reduce the sanest man alive to lunacy. That's how far the world is from where I am. Just one bad day." This is what the Joker says in Alan Moore's Batman: The Killing Joke, the now most iconic Joker origin story ever. And it is this sentiment that inspired DC to publish a series of eight standalone, 64-page, one-shot comics featuring Batman's world-famous enemies.
Each of these villains – the Riddler, Two-Face, the Penguin, Mr. Freeze, Catwoman, Bane, Clayface, & Ra's al Ghul – has their own reasons for opposing the Caped Crusader. And each artistic duo chose a different path for showcasing what makes these villains so iconic. While some of these issues function as proper origin stories of their own, others read more like a day in the life, whilst even others pay more explicit homage to Moore's iconic comic by giving us a new/different perspective of its events.
I've read all eight comics in one evening (due to their short length, they can be easily read in 30 minutes) and even though there were some lowlights (looking at you, Penguin & Ra's Al Ghul), I thoroughly enjoyed myself. But my absolute highlight, and the only five star read for me, was Batman: One Bad Day - The Riddler. Wowza! I did not expect to love this comic as much as I did. I've read these books through Kindle Unlimited (I'm currently on a little trial month) but I'm seriously considering getting myself an overpriced hardback of this story. It was this good.
I don't know about you but I absolutely adore Batman, Gotham and all its villains. But not all villains are created equal and thus far, my faves were the Joker, Catwoman (MY BELOVED!!!), Poison Ivy and the Penguin (mainly bc I loved how Robin Lord Taylor portrayed Oswald Cobblepot in the TV show Gotham). I hadn't given Edward Nygma, better known as The Riddler, much of a thought before. Sure, he showed up here and there, but he mostly looked ridiculous in his green overcoat with question marks, his green cane and question mark tattoo on his forehead.
I probably underestimated him for the criminal mastermind that he is supposed to be, but to me, he previously read more as a silly character. Tom King's One Bad Day totally changed that. He gives Riddler a revised origin that makes him much more of a realistic/human tragic figure. In this comics, he is named Edward Tierney, a child prodigy with a genius level intellect who attends a prestigious private college where his father is the headmaster. Edward is a socially awkward child seemingly without social contacts besides his father, who pushes him extremely harshly in his studies. He also regularly beats and humiliates Edward due to him being the shameful result of a short lived affair with a prostitute. When Edward fails to get a full score on an English test that ends with an unrelated riddle, he is beaten and humiliated even more.
Edward tries to commit suicide, fails, and instead sneaks into the school archives and steals the test key for the upcoming course. The teacher finds out and is set to expel Edward from the school. He notes that getting expelled might actually be good for Edward, as he'll still be brilliant but will also have experienced failure and might become a bit more relaxed. Hearing this, Edward snaps and beats the teacher to death. This sets Edward on the way to adopting the "Nygma" surname and becoming the Riddler.
What makes this comic stand out are two things. First of all, Mitch Gerads art is AMAZING. It fit the gritty tone of the story so well and is a true stand-out among the eight artists that got to be a part of the One Bad Day limited series. And second of all, the ending is among my favorite endings of a comic book of all time. Full spoilers ahead! As often with Nygma, he tries to wrest full control of Gotham City and bring death and chaos upon it. In this comic, he is successful and it is impossible for the GCPD or Batman to stop him. And just like in Moore's Batman: The Killing Joke, this leads Batman to maybe, possibly break his one iron rule: "You see, now, in his room by himself... he is making the same, smart mistake I did. He assumes that I can't change. That I can't question myself. That I cannot let go of my own reins. That there is no limit to my mercy. And he assumes that this isn't a recording. That I'm actually on this rooftop actually saying these things. Riddle me this, Edward. Though we meet but once, you know me forever thereafter. What am I?" And then we see Nygma seeing Batman in the mirror standing behind him. And then the next four panels are completely black. The end. Not to be too on the nose but we can all deduce that the answer to Batman's riddle is: "Death". We meet but once but you know me forever thereafter. Holy shit. We can almost safely assume than in this iteration of the myth, Batman finally kills Edward Nygma. I AM OBSESSED. I love it so much! It's so daring, so disruptive, so cool. LOVE THIS CHOICE!
Each of these villains – the Riddler, Two-Face, the Penguin, Mr. Freeze, Catwoman, Bane, Clayface, & Ra's al Ghul – has their own reasons for opposing the Caped Crusader. And each artistic duo chose a different path for showcasing what makes these villains so iconic. While some of these issues function as proper origin stories of their own, others read more like a day in the life, whilst even others pay more explicit homage to Moore's iconic comic by giving us a new/different perspective of its events.
I've read all eight comics in one evening (due to their short length, they can be easily read in 30 minutes) and even though there were some lowlights (looking at you, Penguin & Ra's Al Ghul), I thoroughly enjoyed myself. But my absolute highlight, and the only five star read for me, was Batman: One Bad Day - The Riddler. Wowza! I did not expect to love this comic as much as I did. I've read these books through Kindle Unlimited (I'm currently on a little trial month) but I'm seriously considering getting myself an overpriced hardback of this story. It was this good.
I don't know about you but I absolutely adore Batman, Gotham and all its villains. But not all villains are created equal and thus far, my faves were the Joker, Catwoman (MY BELOVED!!!), Poison Ivy and the Penguin (mainly bc I loved how Robin Lord Taylor portrayed Oswald Cobblepot in the TV show Gotham). I hadn't given Edward Nygma, better known as The Riddler, much of a thought before. Sure, he showed up here and there, but he mostly looked ridiculous in his green overcoat with question marks, his green cane and question mark tattoo on his forehead.
I probably underestimated him for the criminal mastermind that he is supposed to be, but to me, he previously read more as a silly character. Tom King's One Bad Day totally changed that. He gives Riddler a revised origin that makes him much more of a realistic/human tragic figure. In this comics, he is named Edward Tierney, a child prodigy with a genius level intellect who attends a prestigious private college where his father is the headmaster. Edward is a socially awkward child seemingly without social contacts besides his father, who pushes him extremely harshly in his studies. He also regularly beats and humiliates Edward due to him being the shameful result of a short lived affair with a prostitute. When Edward fails to get a full score on an English test that ends with an unrelated riddle, he is beaten and humiliated even more.
Edward tries to commit suicide, fails, and instead sneaks into the school archives and steals the test key for the upcoming course. The teacher finds out and is set to expel Edward from the school. He notes that getting expelled might actually be good for Edward, as he'll still be brilliant but will also have experienced failure and might become a bit more relaxed. Hearing this, Edward snaps and beats the teacher to death. This sets Edward on the way to adopting the "Nygma" surname and becoming the Riddler.
What makes this comic stand out are two things. First of all, Mitch Gerads art is AMAZING. It fit the gritty tone of the story so well and is a true stand-out among the eight artists that got to be a part of the One Bad Day limited series. And second of all, the ending is among my favorite endings of a comic book of all time. Full spoilers ahead! As often with Nygma, he tries to wrest full control of Gotham City and bring death and chaos upon it. In this comic, he is successful and it is impossible for the GCPD or Batman to stop him. And just like in Moore's Batman: The Killing Joke, this leads Batman to maybe, possibly break his one iron rule: "You see, now, in his room by himself... he is making the same, smart mistake I did. He assumes that I can't change. That I can't question myself. That I cannot let go of my own reins. That there is no limit to my mercy. And he assumes that this isn't a recording. That I'm actually on this rooftop actually saying these things. Riddle me this, Edward. Though we meet but once, you know me forever thereafter. What am I?" And then we see Nygma seeing Batman in the mirror standing behind him. And then the next four panels are completely black. The end. Not to be too on the nose but we can all deduce that the answer to Batman's riddle is: "Death". We meet but once but you know me forever thereafter. Holy shit. We can almost safely assume than in this iteration of the myth, Batman finally kills Edward Nygma. I AM OBSESSED. I love it so much! It's so daring, so disruptive, so cool. LOVE THIS CHOICE!
October 1, 2023
DC Comics has the really great idea to expand on the idea behind the enduring success of Batman: The Killing Joke, and assign six different sets of writers and artists to create their own version of that classic story but for a different Batman villain. The conceit is based on the famous line from The Killing Joke:
"All it takes is one bad day to reduce the sanest man alive to lunacy. That's how far the world is from where I am. Just one bad day."
First up is the Riddler, given the Tom King treatment. King does what he does best and writes a nuanced exploration of Edward Nigma; what motivates him and what his relationship is to Batman.
Like Alan Moore did in The Killing Joke, we get two parallel stories here, one set in present day as Batman investigates why Nygma would murder someone in cold blood without an accompanying riddle, and a flashback story looking back at Nygma’s past and providing a possible origin to his character. And while it might be a little too derivative of Alan Moore's graphic novel, it’s wonderfully written with King’s trademark thoughtfulness, great dialogue, and a show-stopping ending. But the real stand-out here is the moody, textured art by Mitch Gerads, which might be the best work that I’ve seen by the artist!
"All it takes is one bad day to reduce the sanest man alive to lunacy. That's how far the world is from where I am. Just one bad day."
First up is the Riddler, given the Tom King treatment. King does what he does best and writes a nuanced exploration of Edward Nigma; what motivates him and what his relationship is to Batman.
Like Alan Moore did in The Killing Joke, we get two parallel stories here, one set in present day as Batman investigates why Nygma would murder someone in cold blood without an accompanying riddle, and a flashback story looking back at Nygma’s past and providing a possible origin to his character. And while it might be a little too derivative of Alan Moore's graphic novel, it’s wonderfully written with King’s trademark thoughtfulness, great dialogue, and a show-stopping ending. But the real stand-out here is the moody, textured art by Mitch Gerads, which might be the best work that I’ve seen by the artist!
January 13, 2024
Woah.
If this pattern continues I might be giving out a few too many 5-stars this month.
I have some more batsphlemy to share: I like this way more than The Killing Joke.
Same structure, equally impressive art, pretty much same goal and very similar story... so I couldn't tell you why. Maybe it's just time for a re-read of Killing Joke and I'll enjoy it much more this time?
Basically, Riddler's snapped and he's being more violent than ever without any kind of clue or riddle as to why. He keeps asking for Batman, but Batman refuses to come because Riddler's "not worth his time."
By the end of the story, nothing is the same.
It's obvious how that detail doesn't stay the same, but there are even other ironic bits. Edward's teacher told him all he would want as an adult is to be playing games. Now he's at that age, and all he wants is to be left out of the game.
"Riddles are fun. But I'm not."
Riddler has turned everything we know about the world on its head.
If this pattern continues I might be giving out a few too many 5-stars this month.
I have some more batsphlemy to share: I like this way more than The Killing Joke.
Same structure, equally impressive art, pretty much same goal and very similar story... so I couldn't tell you why. Maybe it's just time for a re-read of Killing Joke and I'll enjoy it much more this time?
Basically, Riddler's snapped and he's being more violent than ever without any kind of clue or riddle as to why. He keeps asking for Batman, but Batman refuses to come because Riddler's "not worth his time."
By the end of the story, nothing is the same.
It's obvious how that detail doesn't stay the same, but there are even other ironic bits. Edward's teacher told him all he would want as an adult is to be playing games. Now he's at that age, and all he wants is to be left out of the game.
"Riddles are fun. But I'm not."
Riddler has turned everything we know about the world on its head.
August 16, 2022
Ever since 2016, Tom King has been unable to let go of one certain Dark Knight detective. After writing 85 issues of the main Batman title, he concluded that run’s narrative with the ambitious failure of Batman/Catwoman, working with frequent collaborator Clay Mann. Beginning this year was King’s six-issue miniseries Batman: Killing Time (with artist David Marquez), King is now reuniting with another frequent artist Mitch Gerads on One Bad Day, where he puts a new spin on one of the most iconic villains Batman has fought for the decades.
Please click here for my full review.
Please click here for my full review.
September 15, 2023
3,5*
A good origin story of the Riddler, but not without flaws (one major, actually).
Echoing the famous Killing joke one shot by Alan Moore and Brian Bolland it does an impressive job of turning the green buffoon into a real life-threatening villain.
That part is ott though. The way Riddler becomes an (almost) untouchable kingpin goes way too far and undermines credibility of the story. A little restraint there would have driven the book to near perfection.
That being said the plot is hard edged with a stressful atmosphere -thanks to Mitch Gerards’ art too. His Riddler, as fun as an undertaker, is great - with a very dark ending, the way I like them.
A good origin story of the Riddler, but not without flaws (one major, actually).
Echoing the famous Killing joke one shot by Alan Moore and Brian Bolland it does an impressive job of turning the green buffoon into a real life-threatening villain.
That part is ott though. The way Riddler becomes an (almost) untouchable kingpin goes way too far and undermines credibility of the story. A little restraint there would have driven the book to near perfection.
That being said the plot is hard edged with a stressful atmosphere -thanks to Mitch Gerards’ art too. His Riddler, as fun as an undertaker, is great - with a very dark ending, the way I like them.
December 21, 2022
What’s white and green and read all over?
This comic, surprised me more then I thought it would. I knew it was going to be good just based off the team that was working on it. But I really didn’t think we could see a version of the riddler this cool. The riddler is tired of asking questions and is letting everyone know he isn’t messing around anymore. Batman learns the answers to Riddlers past and starts to question his own future. I really liked this one shot, I hope the other “bad days” are just as good, but it’s gonna be a hard act to follow.
This comic, surprised me more then I thought it would. I knew it was going to be good just based off the team that was working on it. But I really didn’t think we could see a version of the riddler this cool. The riddler is tired of asking questions and is letting everyone know he isn’t messing around anymore. Batman learns the answers to Riddlers past and starts to question his own future. I really liked this one shot, I hope the other “bad days” are just as good, but it’s gonna be a hard act to follow.
October 23, 2022
Despite feeling somewhat shafted on the future hardcover plans for the Batman - One Bad Day series, I did quite like this. I was pleasantly surprised at how much of a strong start this is for a curious and novel series for Batman's gallery of rogues.
The art here is undeniably phenomenal. This is visually moody and murky. Colourful, but viscerally awash with the grime of Gotham City. One Bad Day: The Riddler is most certainly a beautifully illustrated book!
Likewise, the plot is also brooding and the characterisation of The Riddler himself is wonderfully executed here - he appears a very modern and extremely dangerous threat!
My only issue with the book is that upon its conclusion it's somewhat glaringly derivative of Alan Moore's The Killing Joke. Now, before you go getting at me in the comments - I understand that this is tied to the actual concept for Batman - One Bad Day as a series, but this really wasn't that far removed from Moore's own epic conclusion - and because of that I did feel a little cheated upon finishing.
Overall, One Bad Day: The Riddler is absolutely gripping throughout. Beautiful to look at and enthralling to read - even if it does cheat itself out of any sense of originality upon conclusion. It's also a real shame that DC have dropped the ball with their approach on these planned hardcover releases.
___________________
My Score: 8/10
My Goodreads: ⭐⭐⭐⭐
___________________
The art here is undeniably phenomenal. This is visually moody and murky. Colourful, but viscerally awash with the grime of Gotham City. One Bad Day: The Riddler is most certainly a beautifully illustrated book!
Likewise, the plot is also brooding and the characterisation of The Riddler himself is wonderfully executed here - he appears a very modern and extremely dangerous threat!
My only issue with the book is that upon its conclusion it's somewhat glaringly derivative of Alan Moore's The Killing Joke. Now, before you go getting at me in the comments - I understand that this is tied to the actual concept for Batman - One Bad Day as a series, but this really wasn't that far removed from Moore's own epic conclusion - and because of that I did feel a little cheated upon finishing.
Overall, One Bad Day: The Riddler is absolutely gripping throughout. Beautiful to look at and enthralling to read - even if it does cheat itself out of any sense of originality upon conclusion. It's also a real shame that DC have dropped the ball with their approach on these planned hardcover releases.
___________________
My Score: 8/10
My Goodreads: ⭐⭐⭐⭐
___________________
December 2, 2024
The game has changed
Forget the fun and games. The Riddler has changed. Great artwork, and a good story, but the points just did not add up for me. Maybe I am just not smart enough.
The Riddler always needed to prove his intelligence by announcing his crimes, hiding them in a riddle. What has changed? What does he want now? The book also looks into the past of a young Edward and his family.
This is more brutal and stone cold Riddler. I don't get the point of the story aside from Riddler's new attitude and inside knowledge, but I really hate the black panels at the end of the book. This just doesn't work for me. The finishes with a varient cover gallery and a sketch book.
Forget the fun and games. The Riddler has changed. Great artwork, and a good story, but the points just did not add up for me. Maybe I am just not smart enough.
The Riddler always needed to prove his intelligence by announcing his crimes, hiding them in a riddle. What has changed? What does he want now? The book also looks into the past of a young Edward and his family.
This is more brutal and stone cold Riddler. I don't get the point of the story aside from Riddler's new attitude and inside knowledge, but I really hate the black panels at the end of the book. This just doesn't work for me. The finishes with a varient cover gallery and a sketch book.
August 2, 2023
Unsurprisingly, another fantastic read from King. A What If? type story, in which The Riddler suddenly changes. Dispensing with the clues and sort-of dumbing down of his modus operandi, he walks up to a complete stranger and kills them with a gun, point blank, and waits for the authorities to arrest him. But while incarcerated he begins wreaking havoc and Batman has to delve into The Riddlers past to try and figure out what’s going on. It’s dark, it’s gritty, it’s interesting, and it’s the most compelling the villain has ever been. Also the artwork is phenomenal.
December 11, 2022
Quizmaster
Compelling origin of a changed Riddler. Gone are the days of silly question mark suits and riddles at every crime scene - Eddie is finally posing a REAL threat. Huge variety of storytelling instruments and POVs. Dark and twisted images round everything up. One of the best Batman comics of 2022. 5/5
January 8, 2023
”Though we meet but once, you know me forever thereafter. What am I?”
Has all the makings of a perennial Riddler story, much like it’s partial namesake is for another iconic Batman villain. King just has a way of writing Batman that suits the character better than any other working writer, for my tastes, and Gerads turns in some of his best work yet.
January 7, 2023
When King and Gerads work together, it's always a blast. Let's cheer three times, for this was not an exception. I enjoyed this origin, furthermore, I enjoyed how it was written, and how much it caught me. And the art is brilliant too.
August 8, 2023
What an ending. I'm excited to read all of these, especially since they're so short! Pretty promising start.
November 28, 2025
I'm mixed on Tom King as a writer. Usually I'm not able to finish his stuff because I just don't connect to his writing. However, I was able to finish this one because it was short.
For the most part, I liked the writing here, but I just didn't like how he wrote the Riddler.
To me, the Riddler isn't a character that is intimidating nor a murderer. He's usually very flamboyant and more of a joke than a threat. But I guess that's not what Tom King wanted to write so he made his own version of the Riddler? Moreover, The Riddler doesn't want to be the Riddler anymore - which felt like another comic that King wrote called The War of Jokes and Riddles. In that comic, the Joker doesn't laugh anymore and gets tired of doing the same schtick - it felt like King just recycled it here.
Overall, it's somewhat interesting, but it would have been better if it was for a different character and not the Riddler.
5/10
For the most part, I liked the writing here, but I just didn't like how he wrote the Riddler.
To me, the Riddler isn't a character that is intimidating nor a murderer. He's usually very flamboyant and more of a joke than a threat. But I guess that's not what Tom King wanted to write so he made his own version of the Riddler? Moreover, The Riddler doesn't want to be the Riddler anymore - which felt like another comic that King wrote called The War of Jokes and Riddles. In that comic, the Joker doesn't laugh anymore and gets tired of doing the same schtick - it felt like King just recycled it here.
Overall, it's somewhat interesting, but it would have been better if it was for a different character and not the Riddler.
5/10
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