Sympathy once more reveals its limits when faced with madness.

The multiverse model offers an elegantly postmodern solution to character stasis in a market-driven serial publishing system which privileges constancy over major change.

[In "The Night Gwen Stacy Died"], death took on an existential quality -- the beloved, innocent but weak Gwen is merely a victim, the casualty of a war between superpowered rivals -- and as such the episode proved a turning point int eh genre's depiction of mortality.

If someone's personhood is in doubt (or seen as lacking), all the easier to direct death wishes at them. When a tiny minority of them transgresses, their crimes of violence only confirm their abjection from the human [. . .] Anxiety, threat, dread, fear, and prejudice feed into the explanatory mechanisms that construct them as somehow beyond human, beyond mercy.

Einstein was wrong! I"M the speed of like CRACKING through shivery rainbows and GOD the sky whirls and withers like a melting RAINBOW!

These characters were like twelve-bar blues or other chord progressions. Given the basic parameters of Batman, different creators could play very different music.