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
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