The Batman Who Laughs by Scott Synder issue #2

Much like with the first issue, Snyder opened with yet another metaphor concerning the functionality of hearts and the sentiment that Bruce has infused it with while he recalled the last action his father Thomas Wayne ever did seconds before the man was shot to death--he covered his son's chest on instinct where the heart dwelt. Poetic prose like this lives on in Synder's other comics, and his Batman deserved such poignancy too, considering that more than the standard fanfare of a superhero comic book, Batman was also always the story of a fractured man whose privilege and trauma go hand-in-hand as he pursued a dark path to become the beacon of justice in a very violent city filled with disturbed individuals who often bled from the same vein as his own grief and slice of madness.

This second issue picked up immediately after the previous one's final moment, with Alfred operating on the Joker's heart where the toxin supposedly was released and infected Batman. Meanwhile, an understandably sluggish Bats (who was doing his darndest to curtail the spread of the toxin by injecting an array of syringes bearing antidotes) convinced his butler and most loyal friend not to even think about allowing the Joker to die, as tempting as that sounds. With deadly poison coursing through his body, he still went to work like the champ he was, disguised as Harvey Bullock, to talk to Jim Gordon. Yet another Bruce Wayne was killed, this time thrown from several stories up in a Building That Doesn't Exist, at least not in this version of Earth. This Bruce Wayne became Mayor after the death of the second Robin Jason Todd. 

The working theory was that Batman Who Laughs had been picking out different Bruce Waynes from several intertwining universes to make a point to our Earth's Batman. He also brought along The Grim Knight, the Earth-22 Dark Multiverse version borne from when a young Bruce Wayne picked up the gun in the alley and shot his parents' killer with no remorse. That's why this Bats has no problem carrying firearms, something we all know Batman has always been against. Because I was missing this context from the last issue, I actually thought they are the same twisted version of Batman, but no, The Grim Knight was an ally of BMWL, acting as reinforcement. Someday, I'll touch upon this Dark Multiverse storyline across Bat-titles. Like I said, it's been five years, and I'm a bit rusty now that I haven't kept track of things. Moving on...

Batman would then share to Jim Gordon something called the Last Laugh. Apparently, the founding families of Gotham, after 1780 when a plague wiped out a third of the population in the city, feared that what they saw at the heart of the country could become the means to the infection. Just like your average Gothamite then and now, they decided to prepare for the worst, vowing never to allow Gotham to become the source of such darkness. That was how they set up a system called the Last Laugh. It's apparently a defense system "in which Gotham can be protected if anything terrible spread inside". Essentially, Batman installed something to that effect on Wayne Tower. It's a way of purifying the air in the city, restoring waterways and the overall health of its citizens independently. It can only be accessed through DNA, which would be Jim Gordon and Bruce Wayne's. Any Bruce Wayne, as it turned out.

BMWL and the Grim Knight entered the premises of the tower and went to work to disable the controls. It's worth nothing Batman was still under the influence of the Joker toxin which will turn him into BMWL if he didn't fix that shit soon, but he's got other concerns. Crime likes to multi-task after all. This below is my favorite set of panels because they harkened back once more to what Snyder opened up with regarding the functionality of hearts while also allowing readers to glimpse BMWL's twisted logic.

"You're an old man over a child's heart--weak, soft, protecting nothing." Well, shit, when you put it like that...

In his warped mind, he actually thought that he was doing Batman a favor by killing all these different Bruce Waynes and gift-wrapping them here in this Earth for some rude awakening. BMWL stressed that this world's Bruce Wayne/Batman was the least accomplished of all the versions of himself because he's caught in the same cycle unlike other Bruces who either chose to domestically be happy as a husband and father or politically effect change as a public servant. Hell, at least BMWL is...a social change crusader himself? In any case, he does make sense the same way the Joker's rhetoric often did if you stop long enough to stare into the abyss.

This mini series is slowly shaping itself to be another masterpiece for Scott Snyder, but it's only been the second issue so I will try to curtail my expectations. I have four more to go and I'm looking forward to reading and reviewing within this week!

RECOMMENDED: 9/10

The Batman Who Laughs by Scott Synder issue #1

 

My gateway to Batman comics was during The New 52 when Scott Snyder became the head writer of the series. Considering the mixed bag that was New 52 in general, I barely could even remember the specifics of what made it great or bad because all I cared about was the main title and the accompanying Bat-related ones in the roster for that run. It seemed befitting then that I come back to this blog again to read and review his 2018 series, The Batman Who Laughs which he also collaborated with the artist Jock. This is exciting for me because I cannot stress enough how much I loved The Black Mirror, their previous collaboration. And since I have no idea what's new with DC nowadays, my review of this series may lack some much needed context, but I will try to compensate by giving enough insight as I could based solely on appraising The Batman Who Laughs as a standalone.

The most gratifying thing where Synder's writing is concerned will always be his deft ability to weave immersive narrative. From the very first pages in which Bruce Wayne asked the reader what they recall was their earliest happy memory, Snyder also managed to set up ambiance and theme, elements which would play throughout a single issue and possibly for the rest of the arc itself. Jock's phenomenal art is complementary of the prose, and the skill in which he could draw can be found during the car chase scene, the exposition's opening action sequence that was engaging from start to finish.

I've pointed out in the past, however, that Synder has a tendency to chew the scenery too much as well. I recall certain issues from his arcs in his Batman run in which he indulged in exposition for way too long that the text overshadowed the sequences of the panels, rendering the visuals almost static in contrast to the words. But for the first issue of The Batman Who Laughs, it's never been more clear how much writer and artist understand each other's styles and how best to work around their flaws so that they could bring out their strengths together for each page.

Something that struck me in a lot of Synder's writings for Batman and Bruce Wayne was how frequently he employed horror tropes, particularly Batman as a noir detective. As much as I also enjoyed the colorful flamboyance and utterly insane stories that Grant Morrison have penned for titles like Batman Incorporated and his run for Batman and Robin, I think I still much prefer the disquiet and gloom that permeate in Synder's overall version of the Dark Knight since it's able to distinguish itself from earlier works post-Frank Miller era by not parroting the morbidity of said content. What we have in his version was a Batman that still clings to a more hopeful message of overcoming personal adversity in a city that time and time again could destroy you, and yet said destruction can also yield, even bloom, worthier developments in its people and the home it embodied.

In The Batman Who Laughs, certain pages delivered on the atmospheric horror mainly because Jock knew how to make each panel look subtly sinister. There was that moment in the morgue where a disguised Batman was examining the cadaver of his alternate self who made different choices after Bane broke his spine. But it's not all gloominess either; there was also that lighthearted banter exchanged between Batman and Alfred as they investigated. It made me feel safe in ways that were nostalgic and far too familiar, as if the dialogue was written to reassure me these are the good guys who will always save the day. Nothing felt forced about it, and when the twist midway leading to the cliffhanger came, it was even more bittersweet to look back on the lighter moments of the issue, such as that opening regarding a young Bruce and his parents playing a game. Synder has connected the thematic resonance of those earlier panels with that of the disturbing revelation on the last page.

But what is The Batman Who Laughs? He was apparently a Batman who went insane after he killed the Joker. There was a toxin released in the Joker's body which drove him mad, but he would also have the same memories, abilities, and level of intelligence, all while bereft of the moral code and values he had lived by as a caped crusader. This Batman (also known as 'Metal') was simply concerned less about imposing righteous justice but more about winning. It's a terrifying hybrid of what Batman never chose to stand for and what the Joker dreamed of in his most twisted, wildest fantasies.

To be honest, a lot of the premise that still eluded me, but I'll gladly chalk that up to the fact I'm a little rusty reading and reviewing Batman comics. Hopefully, I will have more substantial stuff to say for the next issue. I know this mini series only has six, and I intend to finish them even if reviews might be slow due to other commitments. I may resurrect this blog this year with more consistent material, such as following up on my readings of Tom King's run for the flagship title, but there are no guarantees.

RECOMMENDED: 8/10