Commissioner Gordon – The Real Problem – MK Stangeland Jr.

(6 Panels)

Panel 1: COMMISSIONER GORDON and BATMAN (BRUCE WAYNE) stand next to an active Bat-signal. COMMISSIONER GORDON hands three to five file folders to BATMAN. We have an opportunity to see what’s written on some of the tabs, which have the names of some of Batman’s enemies on them, such as ‘JOKER’ and ‘SCARECROW’.

GORDON: I went through the Department’s records. Put these files together myself. I have more if necessary.

BATMAN: What are they?

GORDON: Something that we somehow overlooked.

Panel 2: BATMAN has the first file open, though the angle of the panel only allows the reader to see the backs of the pile of folders that BATMAN is holding.

GORDON: It’s a rough assessment of how many times some of Arkham’s worst have escaped custody and the amount of damage they’ve caused each time they’ve done it.

Panel 3: GORDON hangs his head in shame as he thinks about how long the matter has managed to escape him.

GORDON (1): I had someone ask me a question the other day.

GORDON (2): “What about next time?”

GORDON (3): It made me realize that for all the good you’ve done over the years, Arkham has been the one major problem you’ve never solved.

Panel 4: GORDON looks back up at BATMAN. BATMAN’s closed the folder as he looks at GORDON in order to give the Commissioner his full attention, though his face betrays nothing about what’s going on inside his head.

GORDON (1): The law allows them the protection of the insanity plea.

GORDON (2): Our own moral codes keep us from seeing to it that they meet with any unfortunate accidents.

Panel 5: Close up on BATMAN’s face.

BATMAN: What are you asking for?

Panel 6: Panel focuses on GORDON.

GORDON: I want you to ask Mr. Wayne if, before he starts funding even more Batman, perhaps could think about funding a replacement for Arkham.

(END PAGE)

Commissioner Jim Gordon - Home Sweet Home - Grant McLaughlin

A classic 3 by 3 grid.

1 – Night time / very early morning. A kitchen. The light is off, but you can still get a pretty good idea of what's there. From left to right you can see part of a fridge, a doorway into the kitchen, a phone on the wall after the doorway, a kitchen table with some chairs, and a window that looks onto a driveway. This shot is going to be fixed throughout all of the panels, with the actors in the setting being the only movement.

The movement for the first panel is that a car is driving into the driveway. Its headlights are on and are quite bright in the gloom (perhaps sending some light and shadow into the kitchen).

2 – The car is now parked, with part of it still visible through the window. James Gordon is through the front door and coming into the kitchen. His posture is tired. Maybe he's slouching a little. One hand is flicking on the kitchen light while the other is leaving his jacket on a chair back.

3 – James is sitting at the table, pouring himself a drink. Maybe some scotch or whatever hard alcohol you think he'd prefer.

4 – His drink poured, James takes a moment to pause, reflect, and try to decompress.

5 – Before he can make any progress on those fronts, the phone rings. James turns his head towards the interruption.

6 – James has the phone to his ear, listening to the person on the other end. Neutral expression.

7 – The phone hung up, James rubs his eyes in a futile attempt to wake up.

8 – James is back on his feet, reaching for his jacket, and heading out the door.

9 – The kitchen is once again empty. The light is out. The drink sits on the table, untouched. James' car is out of the driveway and pulling away.

Commissioner Jim Gordon – Hard Night – Ryan K Lindsay

PAGE 19 - 4 PANELS

1. Jim Gordon sits in a chair, his back to us. He’s on the roof of the GCPD but we only see a piece of this.

Caption-Gordon: My muscles ache.
Caption-Gordon: My brain is fried.
Caption-Gordon: My gun only has two bullets left in it.

2. We’ve moved back a bit to see more of the rooftop, Gordon hasn’t moved.

Caption-Gordon: I haven’t slept since Wednesday.
Caption-Gordon: The scotch is kicking in.
Caption-Gordon: Guess I have to get up.

3. We’re far enough back now to see the Bat Signal next to Gordon, though it’s not on.

Caption-Gordon: That damn daughter of mine won’t pick herself up from the prom.

4. Gordon is up and walking toward us, away from the Bat Signal which is now on.

Caption-Gordon: And I certainly don’t trust that Grayson character to drop her home on time.

Commissioner Jim Gordon - Stop Me If You've Heard This One Before - Rol Hirst

Panel One.

The Joker sits in a dimly lit cell in Arkham Asylum. Think Hannibal Lecter’s cell in Silence Of The Lambs, with a safety glass wall at one side. We’re looking at him from behind his chair so we can see beyond him to the people outside. Batman. Nightwing. Harvey Bullock. Renee Montoya.

Harvey Bullock: What have you done, freak? What have you done to Jim Gordon?

Joker: Gordon…

Panel Two.

Switch the angle so we’re seeing this scene from the perspective of the observers now. The Joker sits in shadows, his face obscured by his hand. Only the top of his distinctive green hair and purple pinstripe suit is visible in this shot.

Joker: Gordon…

Joker: Tee hee hee…

Panel Three.

Reaction shot from the gathered heroes. Batman is grim and tight-jawed. Nightwing is glancing nervously at his mentor. Bullock looks like he’s chewing on a nettle. Montoya is trying not to cry.

Joker (O/P): Gordon?

Panel Four.

The Joker lifts his head and stares straight at us, that familiar evil grin scarring his face. Except this isn’t the face of the Joker. It’s the face of Commissioner James Gordon, distorted and Joker-ised. His mouth torn wide and scarlet, skin burned white, receding hairline dyed green. He’s wearing his glasses, but obviously the lenses are cracked.

Gordon/Joker: GORDON’S ALIVE!!!

Commissioner Jim Gordon - Ends and Means - Ben Rosenthal

1. Commissioner Jim Gordon stands on a roof top, wind blowing his trench coat as he looks out over Gotham.

CAPTION (GORDON)

I believe in justice. As the top cop in the city, I need to.

2. A close up of Commissioner Gordon’s face, his eyes tight as he thinks.

CAPTION (GORDON)

I need to believe that my boys are the best. That they can handle whatever this insane city can throw at them.

In reality, I know that isn't the case.

3. Commissioner Gordon has turned to face two police officers, giving them an order.

CAPTION (GORDON)

They need help. I got them that help.

GORDON

Ok, fire it up.

4. Same as Panel 1, but the Bat-Signal is reflecting off the clouds. Commissioner Gordon’s head hangs slightly.

CAPTION (GORDON)

And I hate myself for it.

Commissioner Jim Gordon - Forsaken - Sime McDonald

PANEL ONE
Entirely black.

THUG

[off panel / no word balloon tail]

Relax, Gordon.

Close your eyes.

You're tired.

CAPTION

The smell of creeping rot in the walls mingles with cordite from his weapon.

Blood pumps out from his wound like oil from a ruptured pipe.

PANEL TWO

In the darkness we can make out the silhouette of Jim Gordon, propped up in a corner beside a window that provides no illuminiation, natural or artificial. His revolver is in one hand; his other is clasping his gut as blood pools from a deep gash. I'm in two minds about representing the darkness in this panel; perhaps graytone the entire panel? Or provide Gordon's outline in white?

CAPTION [1]

This is not how James Gordon wants to die.

Alone in the darkness.

THUG

[off panel / no word balloon tail]

This'll all be over soon, Gordon.

Let it happen.

Let the darkness take you.

CAPTION [2]

There is still so much to accomplish.

So much that must be done.

PANEL THREE

Lighting flares and the room is momentarily lit. Gordon's attacker is right in front of him; rake-thin, gangly, long serrated knife in his hands. Gordon has his revolver raised.

SFX

BOOM!

CAPTION

Gotham needs him.

PANEL FOUR

Another black panel, save for the SFX.

SFX

Click.

CAPTION

The dead man's click tells him the city has forsaken him.

THUG

Hahahah!



 PANEL FIVE

Similar panel as #2. The silhouette's of Gordon and the thug are visible. But now the thug is closer, leaning over Gordon, knife inches from his throat.

CAPTION [1]

Their relationship was always a one-way street.

Gordon sacrificed all for Gotham.

Gotham gleefully took it from him.

CAPTION [2]

What did Gordon expect in return?

PANEL SIX

Another explosion of light as lightning flashes - - - revealing THE BATMAN, clutching the thug in a choke-hold, the knife falling from his grasp.

SFX

BOOM!

CAPTION [1]

Gotham may have forsaken James Gordon.

THUG

Gack!

CAPTION [2]

Its Dark Knight hasn't.



Why James Gordon?

"Gotham City.

Maybe it's all I deserve, now.

Maybe it's just my time in Hell."

- Liutenant James Gordon, Batman: Year One

In a surreal world of crazy clown psychopaths, scar-faced murderers and costumed vigilantes, James Gordon represents our only glimpse of realism in Gotham City. He is a humble man, dedicated to combatting evil and corruption however he can, as best he can. His desire to save Gotham from its inherent darkness is unrelenting. He is a man we can root for, who sets the kinds of standards we hope our law enforcers can reach. James Gordon is a man with flaws, like us, who strives to do right and doesn't always succeed. Who fails and falls and gets back up again. Whose determination is something we can aspire to.

Also? He's just a damn cool character who has thankfully been revitalised, initially under the stewardship of Scott Snyder in his Detective Comics run, and now continued in the DCnU. Gordon has been the focal point of some brilliant comics in the past and will surely inspire the Thought-Balloons crew to some of their best.

As always we welcome you to join in below.