I agree with your assessment Mani. King’s strength is writing smaller, intimate stories. We have gotten used to Batman being all about the huge event stories. It’s taking some getting used to for his style. But I Have really grown to appreciate it.
With War of Jokes and Riddles, I thought he really didn’t understand the character of Batman. I had a real hard time with how Batman handled the whole Kite-Man’s son stuff. It really ticked me off. But sticking with it, I have gotten treated to some beautiful writing since then. There are some strange choices he’s made. I feel like there are a lot of loose ends, like what ever happened to Gotham Girl and why does she just disappear so often. But overall, it has really gotten strong. Cold Days was absolutely incredible. And I actually liked the wedding stuff. I loved Selina’s ode to Batman and thought it was one of the best Batman descriptions ever:
I still don't quite understand why everyone rags on King for the lack of a wedding. Much like killing a character, or making a character a villain, we know that a wedding isn't going to happen. And considering that it came at the mid-point? It's foolish to get upset over. The lack of a wedding is an emotional high point to kick the story into it's second phase. That reveal at the end was when King made me really feel like **** got real, and he's been building on that ever since.
Not sure if you or ManiMan ever followed wrestling, but I liken the scenario to when Hulk Hogan turned heel and joined the NWO. If Sting, Lex Luger and the Macho Man beat Kevin Nash and Scott Hall at that Bash at the Beach after WCW built up that whole "Outsiders" invasion angle, it would have fell flat. Having Hogan come out and turn heel, though? That took the story to a whole new level, and set the stage for the Crow Sting, and all of those great moments that came out of the next year or so of storytelling. So with Tom King's Batman, Bane foiling the wedding is taking the story forward and escalating the stakes. It's been a tough few months seeing Bruce in a downward spiral trying to make sense of the conspiracy and being knocked down a few pegs in a way that I haven't quite seen before. Plus, King posted a drawing by Mikel Janin of Batman and Catwoman embracing on a gargoyle over a rain swept Gotham, cryptically telling us "Coming up in Batman". So I'm anticipating a highly emotional reunion.
That said, I re-read everything in the lead up to issue 50, and I liked The War of Jokes and Riddles much more the second go-round. The fact that the whole thing was a massive ploy created by the Riddler to get the Joker out of his fugue state was, within the context of the story, brilliantly infuriating. It made Batman's mistakes, like mishandling Kite-Man's son's death, all the more poignant because it was more than just a casualty of war. It was a joke. And I loved how King kind of re-contextualized Batman's relationship with the Joker in the moment that Batman realizes the nothingness of the whole war. On top of that, I loved how the whole story was about the fallout of the war, the small moments within it, rather than about the war itself. The dinner issue is still my favorite. But still, I would have loved to see it play out as a maxi-series outside of the main title as originally conceived by King and Mitch Gerads, before editorial put the kibosh on that.
I've been loving King's Batman since I Am Suicide. After the bombastic, overwritten nonsense from Snyder, King's take was a very welcome turn of the wheel. If anything, I can truly appreciate King as a craftsman. His books never feel like the run of the mill superhero book. Everything is crafted with intent, from the panel layouts, to the dialogue, and the pacing that all of the elements create. Everything feels deliberate. This is clearly illustrated in King's issue of "The Button" vs Williamson's issues, that feel like every other superhero book on the stands.