Another video, another technical problem. Aside from the poor framerate, I had also forgotten to adjust my audio delay from a prior stream. This would result in Batman punching a thug but the sound of impact coming well after it should have. Typically this audio delay was the result of my playing on console with friends, where the Elgato device I used at the time had an automatic delay in its video and audio feed. I implemented an audio delay to my voice and those of my friends on Discord, but as I was playing Arkham Origins on PC, it led to the PC game’s audio being out of alignment as well.

Fortunately I don’t have to worry about such issues with my current Elgato, but I’m also not really streaming that often these days either. Such is life.

I’m going to be honest, despite some of the technical stumbles, fumbling over our own words, and my uncanny inability to concentrate on speech and gameplay at the same time, this might be my favorite episode of streaming this game. We hit a lot of design elements, and I think actually analyzing a level with Shamus has better helped me to stop and consider a game’s environment or narrative better today.

There’s always going to be that sense of “video game logic”, or even “comic book logic”, where some of the audience are willing to buy into the most outrageous of concepts presented. Joker suddenly constructing a roller coaster within the hotel is one such set piece that no doubt sounds cool, but it does not work with the grimdark atmosphere of the game. There’s a degree of maturity and realism depicted in the game’s tone and narrative, and so such outrageous contraptions begin to feel inconsistent with what the writers wish to convey.

The same can be true for motivations. In Christopher Nolan’s interpretation of Batman and Joker’s rivalry, the Clown Prince of Crime took notice of Batman due to his popularity. Even so, there was time spent observing him first. Here, the Joker wants to send a bunch of assassins after Batman, and… for what purpose? My assumption while streaming was in order to see Batman wind up dead, but in rewatching the stream now I cannot help but wonder if it was to have some fun. If that’s the case, the game is framed in such a way that it’s difficult to parse through all the other muck going on.

Aside from those items, Joker is honestly the only thing that feels correct about this game. The dialogue feels right, much of his behavior seems appropriate, and Troy Baker did a phenomenal job capturing Mark Hamill’s interpretation of the character. If they had just simplified the plot a bit, I can see there being a concept where all of this is designed as a “Christmas present” to Batman by the Joker. “You see, Bats, I’ve been a long-time admirer of your work,” he might say, lining up a series of X-Ray photos of all the criminals whose bones have been horrifically broken by Batman’s attacks. Perhaps even showcase some crime scene photos that indicate a mess that’s been left behind. You could frame the introduction as Joker believing Batman to be an agent of chaos as well, only his target is the haughty and conceited criminal element in the city.

Then imagine Joker’s disappointment to find Batman himself is actually haughty with a stick up his bum, only to then spin it around into a fun game himself.

That’s not really what’s going on here. Their interaction is framed as a first-time meeting, but the dynamic is being kept the same.

Of course, the real crime is once again going into the whole “Red Hood” origin, complete with the blossoming of his relationship with Harleen Quinzel. It is sudden, incredibly forced, and absolutely unnecessary for whatever narrative this game thinks it is telling.

There has to be a really fascinating behind-the-scenes story of why this game is such a mess. Maybe one day Jason Schreier will write about it. Until then, you can go back and read Shamus’ thoughts at the time over on his blog.