This review covers both the last issues of the series.
The Batman Who Laughs, in some ways, could have been an interconnected arc to The Black Mirror, which was the previous collaborative work for a Bat-title between writer Snyder and artist Jock. Perhaps they've always intended it to be that way. In fact, a few of its elements had seeped into the narrative of BMWL including James Gordon Jr. himself, the primary villain for TBM. As I look back on all the seven installments I've read, I must say that there were glaring missteps that, to me, held back the series from becoming a full-fledged amazing Batman standalone story. The supposed core of The Batman Who Laughs is reminiscent to Darwyn Cooke's shorter work entitled EGO. I believe TBMWL delivered a hefty serving of a rather intimate psychological horror in which Batman came face to face with his worst self (literally and figuratively) in this hybrid of nightmares and insecurities known as the titular villain.
However, after finishing all the seven issues, I found that overall production of the story underwhelming (if not convoluted at least) for two reasons which I will cite separately below w in m respective sixth and seventh issue mini reviews.
ISSUE NUMBER 6
The penultimate issue was probably the most suspenseful installment that attempted to connect all the pieces found in the earlier issues while ensuring the suspense was both taut and smooth sailing. Ninety percent of the time, it truly was an outstanding exploration that was brisk and nuanced particularly when it came to Bruce Wayne/Batman's tenacity as an individual. We see the inevitable unraveling between Batman and his worst self page after page of visually striking panels that conveyed the horror in bold strokes that bleed red.
Regardless of my reservation and nitpicks about the series, I will say that a lot of these illustrations are atmospheric in such a cinematic way that from the final rating I'd give The Batman Who Laughs out of 10, the four stars of that solid 7 belongs to the art of this comic book. I have my reasons why I think the art outweighed Snyder's narrative, which I'll touch upon now.
This story was immense in the scope it tried to embody which was essentially more psychological than the fanfare found in other titles since no other comic book superhero ever created can carry the weight of something like this than the the Dark Knight Batman. His very mythos and history had time and time again covered archetypes found in both noir and gothic literature. Batman stories can become not just detective stories but also ones that are steeped in psychological suspense and a dash of superlative horror if and when said standalones land in the hands of talented writers and artists. There's a reason why DC movie-verse seems so obsessed manufacturing the same gritty atmosphere that only really flourishes in a Bat-title, forgetting, of course, that such a macabre flavor is unique to the Dark Knight alone among all DC character. You can easily see Bruce Wayne/Batman jumping into Vertigo titles, which I believe did happen in stories I can't recall at the moment (like that one with John Constantine). But I digress.
What I believe was the missing ingredient that would have elevated The Batman Who Laughs into another classic was the diminished portrayal of its titular villain. After seven issues, BMWL was utterly one-dimensional. Not once did I feel he was that big of a threat to Batman save for the dark alternate reality he supposedly embodies; this twisted image that married the Joker and Batman in a depraved shell that only knows how to deceive and win. But I never connected with him at all as a reader, which is the point of any horror story. Readers must be invested in the fears and risks that characters face and must resolve, or feel either dread or relief when the characters were changed at the end. There just wasn't a lot of that for The Batman Who Laughs.
HIGHLIGHTS OF THE ISSUE: The parallels between scenes for BMWL and Batman, and the Gordons and the Grim Knight are incredibly layered. As Batman struggles to hold onto his sanity with Alfred on the comms urging him never to give in or give up, Jim Gordon is confronted by the Grim Knight in regards to how he really feels about his psychopathic son. What I found most interesting for the latter scene was that it definitely feels like the encore for the finale in The Black Mirror. James Jr. has been fractured a long time, and some might say his disease of the mind and heart is incurable. The confrontation revealed that perhaps his own father was beginning to believe that, and his lack of faith that his own progeny can overcome the nature of his Beast was quite heartbreaking, far more so than the push and pull between Batman and his worst self. Still, there was a correlation between these scenes.
RECOMMENDED: 8/10
ISSUE NUMBER 7
The second reason I thought held back this entire series from being a classic was the overreaching plot point about the Last Laugh and infecting Gotham citizens with toxin (?) that would transform them into the worst versions of themselves. Isn't that the plot adapted from a fairytale written by Hans Christian Anderson? Because I'm pretty sure I watched that same kind of storyline unfold in one of the seasons of ABC's Once Upon A Time. It felt as if Snyder fell back on what he knew best, because he used this at least three times in his original run for the flagship Batman title, and they worked in their own way with a few deviations.
However, that same shit shouldn't roll for this one too. That was a nitpick of mine that could have been scrapped during the cutting floor. It felt so unnecessary and only dragged down what could have been a mesmerizing and intimate exploration of Bruce Wayne's ongoing damage and Batman's endurance in spite of the trauma and pain of the boy nobody saved until he became a man who must do it for others in the shadows. What should have been expanded some more are those alter Bruce Waynes. As the story was concluded, those other Bruces felt to me as if they died dishonorably, their legacies untarnished. I suppose that was the point BMWL wanted to make when he murdered all of them, but it never went beyond the cheap thrill and shock value of seeing these better, more successful, more proactive, happier versions of Bruce Wayne cut down. They became nothing but collateral damage to a strife as old as time.
I would give credit to The Batman Who Laughs for the way Snyder and co. depicted Batman's tenacity against his own darkness because it had been a fun ride. The action was pulsating every page but the unfortunate byproduct of that was how any other meaningful points in the narrative and development had to take a backseat. Characters didn't exactly flourish where the main hero and villain are concerned, but at least we got to wrap up James Jr.'s arc from The Black Mirror which was a gratifying spin-off.
I may read the accompaniment oneshot featuring The Grim Knight since it is included in the story's seven issues so it's sort of like an interlude. In any case, even though The Batman Who Laughs had a few missteps, the vision and scope of its story remained ambitious. Visually, there's also a lot to feast on for every issue, thanks to Jock and co, but as far as the narrative goes, I think at this point I expect more from Snyder if he ever wrote another Bat-title some time in the future.
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