On Walker's Machiavelli by Leo Strauss

By Leo Strauss

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The machine overloads Edward’s brain, leaving him disconnected and confused in Arkham Asylum, under the delusion that he himself is Batman. Out of all the Burton-Schumacher Batman films, none other shows Bruce Wayne as often nor depicts him so thoroughly as a meaningful character. This Bruce is braver, bolder, more comfortable in anything he wears. With no time to costume up and without hesitation, like James Bond in black tux, Bruce attacks Two-Face’s thugs during a frantic attempt to stop a ticking bomb from killing hundreds at the circus.

But virtually everything else did change over the decades: costumes and supporting cast and crime-fighting gadgetry and the kinds of crime fought and the kinds of villains who perpetrated the crimes…. The range of stories appearing under the Batman logo went from farcical to macabre, while always being a Batman. Not the Batman—there is no the Batman—but a Batman, one appropriate to whatever was contemporary. This plasticity not only kept Batman commercially viable; it allowed different writers and artists to interpret him according to the dictates of their own experience—the world outside their windows.

He became Batman the instant his parents were murdered. Batman needs Bruce, however hollow that identity feels to him from time to time. ” Where some movies show Bruce’s temptation to give up being Batman, this Batman’s only temptation would have been to give up being Bruce. “The temptation is to retreat into the cave and never come out. ”26 Batman: The Animated Series left lasting marks on Batman’s rogues gallery. Its version of Two-Face’s origin integrated multiple personality in a way that made some sense, showing that its Harvey Dent always had a bad Harvey inside him waiting for trauma to bring it out.

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