There are thought provoking ideas buried within some complete nonsense, but they’re frequently poorly conveyed. His defining transformative moment is accompanied by images of a cuckoo clock. Batman’s journey into the heart of Arkham is paralleled by that of the asylum’s founder, whose horrific experiences shred his sanity.
He supplies an interesting analysis of both. The two villains that do interest Morrison are the Joker, well portrayed as a demented master of ceremonies, and Two-Face. Why would Batman force a shard of glass through his palm before facing the inmates? It comes across as meaningless shock. Much else appears to happen for no good reason. An exception is a nine page, near silent stalking of and confrontation with Killer Croc, yet that’s for a strained St George analogy. Once inside Arkham, Batman must handle a succession of foes in whom Morrison has little interest, yet who occupy numerous two page spreads in which they spout pretentious, hollow dialogue. Many years later Grant Morrison would deliver an excellent extended dissection of Batman and Bruce Wayne, but as the starting point of a psychiatric exploration here, the notion is unconvincing narrative convenience. Batman is summoned with the inmates in control, and confides a fear that his determination and compulsion may be a form of insanity. Now familiar to those well beyond graphic novel readers, Arkham Asylum is the repository for Batman’s foes considered insane.
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A tagline plastered vertically down the cover of the original edition reads “A serious house on serious Earth”, thus weighting expectation before the cover’s even cracked even without knowledge of the Philip Larkin poem it’s taken from. When originally released in 1989 Arkham Asylum received reviews considering it a heavyweight project destined to sit alongside the Dark Knight/ Maus/ Watchmen holy trinity of the fledgling graphic novel market.
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