#being that readers found him intrinsically unlikeable in the wake of dick but before Robin as a legacy became a convention of Batman

[rmbunnie]

I know Morrison's Batman tends to be considered one of the greats, and I am definitely warming up to it more than I did on my initial read, but there are still some elements of it I found really didn't mesh with me. I feel like I can say this a lot more concisely than I did during my initial readthrough of Batman and Robin 2009, plus I've had more time to reflect and actually form a coherent opinion that wasn't a gut reaction, and keep in mind that I've read Batman and Robin in a vacuum Morrison-wise and can't speak on it in the larger context of their Batman run, but aside from just. very odd writing of certain characters, I feel like one of the more significant things that rubbed me the wrong way with this storyline was that a lot of the "weirdness" I'd seen hyped up felt either inconsistent enough that it didn't have a significant presence for me, especially towards the end of the run, or very surface-level.

One of the runs I see hyped up as some of Morrison's greatest work is Animal Man, especially for its metafictional ending. I haven't gotten around to reading it yet, but I expect that I'll enjoy it, or find it very interesting at the least (although author-inserts can come across a bit arrogant sometimes imo.) The point is I've heard good things, that it comes down to a very interesting and one-of-a-kind conflict in the end, which made me in some part hopeful for similar with Batman and Robin, (although I do have to admit I was reading it in part to see how off his Jason really could be.) I didn't really find that, tbh. There definitely were genuinely weird plot points with impact on the story which I feel were really successful, unfortunately it seems like a lot of them were at the cost of any prior characterization for the characters involved. Damian has steel implanted into his spine which allowed Deathstroke to control his movements and set off his emotional connection with Dick, Talia just had to be written horribly for it to happen. Sasha is a really interesting parallel to Damian/Robin-in-general. The conflict around her grotesque mask permanently fused onto her face and the fear that it'll kill her completely to take it off, the scene in which she gets said mask in the first place/the dollotrons, and the concept of a villain getting their own Robin in someone completely unrelated to Batman and the impact their legacy has had is all really original and cool, it's just that it's all dependent on a bewildering version of Jason that directly contradicts all previous characterization save BftC. To me the tradeoff doesn't feel necessary, but the events are inventive and have weight in the larger story.

In other areas though, especially as the run wrapped up, the zaniness that I see hyped up a lot, while providing a unique atmosphere, felt a lot like set dressing more than anything. In retrospect, the first time I really noticed this was the Professor Pyg dance page back in issue 2 or 3, I believe? But it became much more frequent towards the end of the series. The entire city becomes infected with a viral drug by Professor Pyg which isn't a major threat and doesn't serve anything in the story much besides being wacky, letting Professor Pyg say odd things about his mother sometimes and putting Commissioner Gordon... in a dress! Zany! (Professor Pyg is eventually... presumably?... torn apart by a parade of dollotrons and his narrative importance dies with him.) Alongside the Morrison-original villains like Dr. Hurt and Professor Pyg, there's a mysterious new player in town who's been orchestrating everything, and after a dozen issues of mystery it's the Joker, but wearing a mask and making edgy "differently-abled" jokes!

Dr. Hurt is interesting, and I liked his part of the story if I ignored the panels of auxiliary weirdness thrown on to add to the vibe, and I think there's something fun and interesting there about the legacy of Batman vs. artistic interpretations with his motive of ruining the Wayne's legacy (made more apparent with his talk about the Batcave being "the way it was meant to be in his head," the manor and Batcave "his to ruin," but Dr. Hurt kind of fades out of the story as Batman returns and is defeated by Joker, laying a banana peel on the ground. In the context of the theme of artistic interpretation and Morrison's commentary that they never cared to pretend the story was going to end with anything but a return to the classic Batman, I actually find this really interesting. A character heavily defined and reinvented by Morrison's writing being defeated by one of the most iconic Batman characters with a classic comedy trick from the 19th century feels like the conclusion to the contrast between Batman's legacy and the artistic license of the authors writing the comics: you can have your personalized elements, but the legacy of Batman is elastic and unlikely to be molded by them: certainly it won't be destroyed. Despite this, it didn't change the exhaustion of seeing the Gravedigger's mask come off and settling in for another comic where the Joker is gonna be doing classic zany Joker stuff.

As much as I'm frustrated with the way Talia and Jason are written during this run, I didn't entirely hate it, and the more I think about it, the more I find things I like. Some of my frustrations come down to taste, and are an unavoidable product of my personal taste differing from a pro comic author who had an established writing career while I was going to elementary school. I feel like some previous Batman comics were referenced in really exciting ways, for example the combination of Bruce's absence, a drug being used to gain control over citizens, an odd demonic presence, an imposter cult leader (If you can call Dr. Hurt that) prolonging his life through magical rituals, the background detail of complete chaos in the city, and one of the main villains being torn apart by a crowd of his followers, from the limited number of straight-up-Batman storylines I've read, felt pretty strongly like a nod to The Cult. But even considering the commentary on creative license vs. the consistency of Batman as a pop culture icon, the feeling of reading the comic was frequently that I was being convinced of a weirdness that didn't extend through the story down to the actual structure or plot points of the issue I was reading (with exceptions, such as the Sasha + Professor Pyg thing,) and although I appreciate the message of the return to status quo in the ending, with the hype of the story's inventiveness and uniqueness on my mind, it was kinda disappointing to realize halfway through that for all the weird window dressing, the story would be commiting to a much more traditional turn than what I was expecting.