Ok idk if this is common knowledge or if I'm misunderstanding, but do we have an idea of when joker fell in love with batman? Did he come out of the sauce like that or was it during his young villanhood?

-@Tinygalaxykid

The answer depends a lot on writer and continuity, I suppose... and on personal preference. Some (like Tynion or Snyder) retrospectively wrote Joker as being obsessed with Batman from the very beginning, from their very first interaction. However, even then, I would say there's a difference between obsession and love. Because if we're talking obsession, Batman also got unhinged about Joker very early on.

Older comics portraying initial interactions between Batman and Joker actually show that when first emerging, Joker didn't target Batman at all. He was interested in taking down Gotham, and Batman was just an obstacle in his path (and I guess now I can add King's The Winning Card here too). I have a longer meta in response to someone's question here that might be of more help, going into depth on Batman and Joker's first interactions and the development of their obsession here. Personally, I think there's a lot more canon attesting that Joker wasn't in love from the get-go and that he genuinely wanted to kill Batman-- and that it took time for him to realize he even wanted Bruce alive. Joker wasn't playing around, he wasn't pretending; his schemes and attempts to kill Batman were real.

However, there's multiple moments in their first years in which Joker thought he killed Batman... and he's not entirely triumphant. But I'll put the rest of this under the cut because I've gotten long again.

You can visibly see Joker struggle with Batman's potential death here, for example:

Batman: Batgirl (1997)

This takes place around Year 8, and as you can see, Joker's jostled... but only for a moment. At the end of the day, as I mentioned, Joker's approach depended on the writer; some had Joker as purely homicidal and gleeful in trying to kill Batman, while others wrote him as coming to avoid killing Batman because then he'd be losing his playmate. I think one of the earliest and overt instances of the latter was this:

Batman (1940) #408

And that technically takes place around Year 10 of Batman's career. So if we're taking this as a progression, it did take Joker a while to arrive at these sentiments, and even then, he's conflicted about them. He acknowledges himself later on that he pivots back and forth between trying to kill Batman in earnest and not.. another time he decided that no he definitely wants to kill Batman now:

The Brave and The Bold (2007) #27

By the 2000s though, we got the infamous story Superman: Emperor Joker. Which entirely hinged upon Joker's feelings for Batman, but also his unawareness of them. Superman manages to make Joker realize that Batman is fundamental to his understanding of the world, and that he could not erase him, not matter how hard he tried:

Superman: Emperor Joker (2000)

Joker's memories of this are taken away, but to be honest, I do think this marked... a change in Joker's understanding of himself. Because the first time ever, to my knowledge, that Joker's told Batman he loves him, is this:

Batman (1940) #625

This was published in 2004, and let's say taking place around Year 15 (though in realistic post-Crisis continuity, it's even later). So, if we're trying to look at the timeline, to me it becomes obvious that Joker's feelings and his own awareness of them were a progression. He's always been obsessed with Batman, but he becomes more territorial and more... in love, with time.

Because what happens in this time? Batman saves his life, time and time again. Batman doesn't kill him. Batman keeps playing his game, gives him attention, doesn't give up on him... with The Killing Joke as an essential moment in which Batman offers to help, despite what Joker did. All these things Joker could not have known immediately after they met. So I guess my opinion is that while obsession was near immediate, love (of the very twisted kind) came later.

so for the first time I saw batman: the killing joke.

...

it was okay I guess. but massively overrated. I expected some fucking masterpiece of cinema but instead it was just two unrelated short films that were more style and flash than substance.

so first off, barbara's storyline was mediocre. franz wasn't a compelling villain; just a creep, and a trust fund brat. oh wow he's a mafia kid who stole his family's fortune by hacking. if it was the falcone family I'd have cared more but it wasn't so it's just some faceless deathfodder rando. who gives a shit. the whole situation was just a vehicle to shove batman's dick into babs. which kinda fucks over bruce's character here and judging by the timeline kinda makes him a bit of a groomer, yikes. bruce and gordon have known each other since bruce was a young boy and we know that bruce is way older than babs so yeah bruce totally knew her from birth until present day, he literally utilized an active power dynamic to police her crimefighting activities, and he should have fucking known better and stopped her when she kissed him because it would (and did) compromise their professional dynamic, but hey, batdick. and at least barbara recognized that she was behaving emotionally rather than logically when it came to bruce and paris and took the high road out. that would be a serviceable standalone episode to write her on a bus in a serialization but THIS IS A MOVIE. so for a waste of an already short runtime it's like having an appetizer before your meal but instead of something like a crab cake before stuffed flounder, you get greasy onion petals that are more fried batter than onion before getting a well done cheeseburger that's just a glorified hockey puck on a sponge with a kraft single on top. the animation and vocal delivery were excellent of course, not gonna disparage that aspect, so it was well made, but the writing was just not very good. a polished turd. quantic dream must have developed it then because it feels like I watched a david cage production.

so in a 78 minute movie, five of which were the credits, we had a half hour Disney/Pixar short except those bring joy and this brought boring. also there were a lot of shots of her ass tits and underwear that were obnoxiously male-gazey and there was a token gay for the sole purpose of dangling a carrot on a stick for the queers. look kids, warner brothers and dc comics cares about the lgbts! give us money! a waste of time before the real reason why anyone came to see the movie that literally only exists to pad out the runtime to make it a feature length (even though paying a full ticket would've been a total ripoff because, again, IT WAS ONLY 78. even 9 was 81 minutes long and that had an amazing storyline so I forgave it, but 78 minutes? ugh.

also, GOTHAM RAGE??? CRINGE. SO CRINGE.

alright now for the joker segment.

*ahem*

what the fuck? that sucked! *throws tomato*

mark hamill and the joker's lines and the art and the cinematography and the choreography was all good and the plot was cohesive. I get it.

but holy shit was the writing weak as fuck.

okay so some rando breaks the J-ster out of Arkham (already unlikely but ugh whatever), he didn't turn a trick or recruit or anything, he just went to purchase a carnival. or, steal one. but wait, he DID recruit, but he went to get all of the stereotypical Circus Freak™ stereotypes. little people, fat lady, bearded lady, wolf man, strongman, diaper man (wait, what?), and the two headed woman. I guess if you don't really think about why all of them were super readily available in the outskirts between arkham and gotham [i just realized they both end with -am] then it makes enough sense. and then literally right after that HE RECRUITS SOME GUYS TO HELP HIM KIDNAP GORDON. and then strips and photographs barbara. um. ew. you can tell the writer and director were men. Alan Moore is constantly molesting women in his comics and this one trick pony should be put down already. but whatever. the plot is weak and it only gets saved by the flashback sequences.

oh.

oh no.

they're not that great.

he's a failed unfunny comedian who just wants some money to move his wife to a better house so he turns to thievery with the mob. OR YOU COULD JUST STOP GOING TO THE BAR AND BLOWING IT ALL ON BOOZE. I mean the cops knew where to find him after all so clearly he's a repeat customer (or moore is a bad plot writer who relies on convenience and shut the fuck up and don't critically analyze it). alright so he gets wrapped up in the mob to perform a heist on a playing card factory. GET IT, BECAUSE HE'S THE JOKER??? and he uses the moniker of the red hood to retain his anonymity. I expected the mobsters to be working for francisco but no the paris storyline was only cooked up screenplay for passing the runtime so why would they do something clever and interesting and make the film cohesive? that'd be really stupid to make the movie feel more like one movie and not two short films. at least when grindhouse & planet terror did it they advertised themselves as an anthology film. whatever. he falls in the vat of acid which melts the red hood to his face and I gotta say that's actually a pretty good idea to get his face white and his hair green and his lips red. I like that part. oh wait I forgot about the most important part! his wife gets shoved in the refrigerator. OH WOW THAT'S JUST SO COMPELLING AND ORIGINAL, TOTALLY NOT SOMETHING THAT ALREADY HAPPENED TO GREEN LANTERN. TWICE. although she wasn't literally shoved into a literal refrigerator like alex was. rip in frozen pieces you absolute legend of a trope namer. alright, so... so the joker is sad because his wife died. you know, the wife we saw for two minutes and knew the moment we saw her drenched in sepia she was gonna die. and she died offscreen. kyle's gf died and he was fine. gordon's wife died and he was fine. batman's parents both died and he was fine. oh boo hoo someone I love died! fuck off. I am so goddamn sick of people trying to justify their evil with "I was sad once". it's a stupid trope and it's not compelling. the only valid version is doctor doofenshmirtz' evil(er) version in the PF movie because it's hilarious that it's because of a toy train because that's the emotional depth that fridgewomen is treated with in all of these storylines. but at least batman said so. oh yeah, I almost totally forgot, batman's in this movie.

batman punches people and nonlethally takes them out. by suffocating them and letting them get stabbed and throwing them into pits of spikes and HEY WAIT A GODDAMN SECOND! okay let's just ignore that bit and hope that the little people squeezed between the gaps in the spikes and the strongman could breathe in the face mask and the two headed women had KO gas and the fat lady was fat enough that the knives only stabbed her cellulite. it wouldn't be the biggest reach one would have to make in watching this fucking disaster of a plot mess.

now I did like that it was actually batman, and by that I mean he gave a shit about the insane because he recognizes that mental illness is not a cause of dangerous or criminal behavior, just a potential exacerbating factor if it wasn't treated. yeah he brutalized mobsters and crime lords but they were mostly in self defense while gathering intel. he politely asked sal maroni and the sex workers for information and they gave it to him without violence- he manhandled maroni but only after he reached into his pocket for a cigar which could've been a gun. also batman says sex work should be decriminalized if only by not ratting them out to the cops. he was a genuinely good person in the second half of the movie. too bad it was ruined by the shitty first half that made him a borderline groomer.

joker's song was... bad. mark hamill performed his ass off but the song wasn't that good. it just tried to be willy wonka if he was a voyeuristic monster. oh yeah have the only girl character be paralyzed stripped and photographed only to give her father ManPain™. again... the fuck? joker and batman were both gross but, again. male writers. if it was a one-off I could drop a thermian argument because, alright one and done makes sense, especially 1988 standards. but it saturated and soured the entire goddamn movie because of abhorrent pacing decisions. so you're goddamn right I'm gonna bring it up twice! joker was a creep, his plan was dumb, nolan and burton and lord/miller and even ayer had better motivations. YES I AM SAYING THAT JARED LETO'S JOKER HAD BETTER WRITING THAN MARK HAMILL'S JOKER. not nearly to the level of ledger nicholson or galifanakis but hamill didn't have a lot to work with here and I maintain that his performance was amazing; honestly I like his the best out of all of them but just... not here. but I think I can cut some slack to firelord ozai and luke skywalker even if he just phoned it in here which he didn't. writing was just weak. and that's all there is to it. don't anon me and threaten to remove my bones ok?

alright so batman and joker fought and joker got the upper hand and was gonna kill him but it was a prop gun. haha. they had a heart to heart and batman tells joker that he wants to help him get better, even after joker killed robin and molested barbara and traumatized gordon and did countless other travesties, he still said he would help. but joker said no, and told a joke that was good enough to make batman laugh. and then the credits rolled.

...

what a completely pointless and empty ending. oh it's deep and meaningful and poignant? ok sure, I guess, movie, but you didn't earn that. shyamalan did the same thing a dozen times. that doesn't make him any less of a shit writer.

I can understand the concept of batman laughing at joker's joke, humanizing him.

I get it. I see what they tried to do. I respect it.

but this movie was massively overhyped and overrated and I expected it to be so much better than it was. but overall to me it was just another batman cartoon to throw on top of the pile. maybe it was influential to graphic novels. maybe it shaped batman into what he is today. it published right as tim burton's movie and I can respect its place in the pantheon of comic history. but sometimes things that are classic...

aren't that great.

citizen kane, casablanca, the maltese falcon, the treasure of the sierra madre, gone with the wind, singing in the rain, all of them are classic and legendary pieces of art. but they're just not that good, interesting, appealing, watchable, or FUN. they were good at the time- I mean come on we all know them today- but on going back you'd have to really appreciate the finer details to still love the movies today. and this belongs there, in the vault, to be appreciated from afar. influential if dated.

but god am I still disappointed nonetheless.

TL;DR

it was just okay. had some good ideas, had some really bad ideas, had some ugly stuff. overall mediocre. first half 5/10, second half 7/10, overall 6/10.