because after reading the latter, I definitely required the former.

Dude, you're telling me. I read Murderer in April and had to wait until August to read the three Fugitives.

I read Murderer in April and had to wait until August to read the three Fugitives.

Oh Christ, man. Cause see, I figured they'd resolve the murder by the end of Murderer? you know? But no. It was strange how there're only maybe a couple issues devoted to the actual solving of the murder (there are more in Fugitive ). Much of the book is devoted to the reactions and repercussions. And, well, it's cool that it propelled itself so well on just that.

"I am unfamiliar with this story, but I'm sure others in this thread aren't."

Re the Batman vamp re-imaginings. I like the way the story takes a new twist to some of the old vamp traditions. In the first book, Batman uses his own blood to scratch up the image of a crucifix to hold the fully demonized Dracula at bay in the sewers. The artwork corresponds with the ongoing depravity of the trilogy. By Crimson Mist, Batman is a decaying hulk of evil.

Overall, it's a winner in the Elseworlds genre.

My key favourite thing across the Batman Elseworlds was the fixation on his defining event, and how the nature (not just the occurence) drove what he became. Obviously the groundwork for obsession was laid, but I think I'd assumed the groundwork for Batman was kinda laid. No -- it was jammed in by the trauma. So he could be made good or evil right there.

Fugitive question: Nightwing calls himself a killer there, in one frame. What's that about?

Fugitive question: Nightwing calls himself a killer there, in one frame. What's that about?

He killed the Joker.

The Joker obviously got better.

D'oh. It's not like PC didn't ask that same question.

I need to remember to go back and really read when I have the context to assimilate.

It kinda undercut the Blockbuster angst for me, though.

It kinda undercut the Blockbuster angst for me

No shit -- I have a great and ongoing issue with the Blockbuster angst as something that could drive 6 months worth of plot. The Joker angst was "what have I done?!" whereas this is more "what if Daddy finds out?" -- not quite as convincing, as big existential traumas go.

It was good, but the...ellipses kind of bugged. I understand what they represented, but still.

It didn't bug me. I can't think of terribly many tools a writer can use in an internal monologue to show someone who is still struggling with language, communication, and verbalization.

Then again, I was rather preoccupied going "OMG ♥!!!" over Cass and Tim, and an explanation of events which actually made sense.

this is more "what if Daddy finds out?"

Well, and according to last week's Batman, Daddy knows and doesn't seem too bothered by it.

It kinda undercut the Blockbuster angst for me, though.

It doesn't for me, because killing in a rage is something he learned he had in him with the Joker thing, and worked through (by, of course, sulking and being an emotional wreck, bless him), but standing aside and coldly allowing someone to be killed--thinking about it and making the decision--was not something he'd thought himself capable of. The premeditation (short premeditation, but premeditation none the less) makes all the difference.