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SIX KEYS TO A LITERARY GENETIC CODE

In essays on the subject of centricity, I've most often used the image of a geometrical circle, which, as I explained here,  owes someth...

Friday, June 9, 2023

"MAD LOVE" (BATMAN ADVENTURES, 1994)




I've already done a short review of the animated adaptation of this one-shot comic here and gave that episode a strong mythicity rating. While a number of beat-for-beat adaptations don't necessarily duplicate the myth-discourse of their originals, both original and derivation are equally good at depicting the psychological morass in the mind of Harley Quinn.

Harley's co-creator Paul Dini has stated that he had no notion that the girl in the jester outfit was going to become one of the most enduring characters of nineties comics. Originally Dini only meant to give Joker a female henchwoman loosely akin to the molls who accompanied many male villains on the 1966 BATMAN teleseries. However, even the few molls who patterned their attire after that of their male leader were usually just there to look pretty. Even though Harley was not intended to appear more than once, Dini had her voiced by his college buddy Arleen Sorkin, and even in that one episode there was more back-and-forth between Harley and Joker than one ever found in a 1966 Bat-episode.

Since Harley's character evolved organically, it's possible that Dini never really thought about the Harley-Joker relationship changing in early episodes. However, MAD LOVE shows the writer, teamed with artist/co-creator Bruce Timm, finally decided to portray that interaction as fundamentally toxic. Joker was, after all, a manic killer, and it may not be coincidence that in her animated episodes Dini didn't actually show Harley callously killing anyone, however often she fought with Batman and his allies.



So LOVE starts out showing Joker and Harley trying to knock off Commissioner Gordon. Batman prevents this, but Harley is instrumental in stunning the crusader so that the two criminals escape. (Note: the cartoon improves on the Joker's farewell line, having the villain say, "may the floss be with you.") On the same page, though, Joker is seen to be completely ungrateful for Harley's help.




Batman then converses with Alfred, musing on Harley's origins. Two details that were omitted from the cartoon: that Harley got into college on a gymnastics scholarship, and that she apparently used sex to pad her college resume.





Meanwhile, Joker is taking it hard about getting defeated again, and he's so desperate for a new Batman-slaying scheme that he starts reviewing old schemes he already discarded. After being maltreated by her "puddin'" once again, Harley almost has a moment of clarity about her rotten love-life. 



This leads to an extended flashback, in which she goes to work at Joker's perennial prison, Arkham Asylum. She's secretly hoping to garner big-time secrets from some of the celebrity inmates in order to write a best-selling tell-all book, But Joker sees in Doctor Harleen Quinzell a mark to be played, and he plays her so well that she abandons all her small-time ambitions, making her into what she believes to be the perfect "Clown Princess of Crime."



But at the end of her flashback, Harley ends up blaming Batman for all of her troubles. She uses Joker's discarded piranha-fish death-trap and traps Batman in it. Batman's only hope is to play on her psychological vulnerabilities, in a more honest manner than Joker did, by convincing her to call Joker in to witness his eternal foe's demise.




Joker comes. Joker is not pleased that his girlfriend trumped him.



So Harley's reward for patterning herself after a clown-themed stone killer is almost getting killed. Batman escapes thanks to having brought Joker into the mix, and Joker seems to "die" in his own big fall. At story's end, Harley returns to Arkham but as an inmate. This time, she almost comes to terms with her own egotistical follies. But Dini wasn't quite ready for Harley's reform, and LOVE ends with her re-descent into the best known "amour fou" of the superhero genre.

But she didn't stay lost in that delusion, and over time Harley became the poster girl for women working their way out of toxic relationships with men, as seen in the 2016 SUICIDE SQUAD. (No one seems interested in whether her girl-on-girl friendship with Poison Ivy might prove equally-- or even literally-- just as toxic, but -- baby steps, baby steps.)


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