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Surely the only way to do 'Batman' effectively (as it were!) is to play up the tension between the identities? If as Bruce Wayne he has to worry about the company, his girlfriends and so on, while at the same time having to go out at night and deal with the Joker or whoever, then there's a story.
I haven't followed Batman's adventures since the early Eighties, since Doug Moench's run, in fact, and all the romantic, psycho-sexual stuff to do with Catwoman and Nocturna - 'I have always loved women dark and dangerous, and so have never loved at all'. It was quite heartbreaking, I remember thinking, as Nocturna floated away at the end, in a balloon. Age very young, it was clear that he was never going to see her again ... I'm not saying get the trades, but it was fab stuff at the time.
Morrison has, arguably, been trying to alude to this late-Seventies, pre-'Dark Knight Returns' version of the character here, but is he that sort of writer, really? The stuff to do with Jezebel seemed telling - can he 'do' relationships, really? Or some point did he just give up and make her a villain, because he'd run out of interesting things to say, otherwise?
Apart from, maybe 'Oh baby, I'll love you till the sun burns out', or related. 'You and me, until the end'. Which is a plot-device he's in danger of over-using. In my humble, of course. |
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