The character's popularity in Detective Comics led the publisher to launch a new title entirely dedicated to stories about Batman – a step they had only taken previously once before, with the Superman series.

The series reached its 300th issue with a June 1978 cover date and featured a story by writer David Vern Reed and artists Walt Simonson and Dick Giordano.

[35][36] Conway included long-form story arcs that ran through both Batman-centric titles, effectively writing them as a single twice-monthly series rather than two separate monthly comics.

Together with artist Don Newton, Conway introduced Jason Todd in Batman #357 (March 1983)[37] as part of the final story arc he wrote before leaving the title with issue #359 (May 1983).

"[47] Notable comic book creators Greg Rucka, Jeph Loeb, and Judd Winick have cited Year One as their favorite Batman story.

[48] Following Year One, writer Max Allan Collins and artist Chris Warner wrote a four-issue flashback story depicting a new origin for Jason Todd.

Following a cliffhanger in which the character's life hangs in the balance, DC set up a 900 number hotline which gave callers the ability to vote for or against Jason Todd's death.

The flashbacks in the first issue also featured the first appearance of Tim Drake, who would ultimately become the third Robin, as "a very young child"[51] who witnesses the murder of Dick Grayson's parents.

[57] Batman and Legends of the Dark Knight continued dominating comic sales charts into the first half of 1990 until being surpassed by Todd McFarlane's run on Spider-Man.

Together with Chuck Dixon, writer of Detective Comics, Moench was a mastermind of the Knightfall crossover story arc which saw Batman's back being broken by the super-strong villain Bane.

After Infinite Crisis, all the regular monthly titles of the DC Universe jumped forward in time by one year, depicting the characters in radically different situations and environments than they were in the preceding issues.

This culminated in the storyline Batman R.I.P., where the Black Glove initially succeeds in doing so, but is thwarted by Bruce Wayne's ability to preserve his sane mind while an erratic, alternate personality takes over.

The milestone issue #700 (August 2010) was set during the past, present and future of Batman, with different eras drawn by an art team consisting of Tony Daniel, Frank Quitely, Andy Kubert, and David Finch.

On June 1, 2011, it was announced that all series taking place within the shared DC Universe would be either cancelled or relaunched with new #1 issues, after a new continuity was created in the wake of the Flashpoint event miniseries.

Issue #0 was published in September 2012 as part of DC's line-wide "Zero Month" event, depicting an incident set very early on in Bruce Wayne's crime-fighting career.

The story arc paused again in February 2014 to allow Greg Capullo more time to complete his artwork: issue #28[115] was thus illustrated by Dustin Nguyen, and acted as a prelude to the weekly series Batman Eternal that would begin two months later.

Published in the middle of the story arc Knightmares and set shortly before it, The Price was a tie-in to the event miniseries Heroes in Crisis also written by King.

As part of DC Comics' relaunch Infinite Frontier in March 2021, Batman resumed publication on a monthly schedule with newly-included backup features as of issue #106.

Typically, the primary challenges that the Batman faced in this era were derived from villains who were purely evil; however, by the 1970s, the motivations of these characters, including obsessive-compulsion, child abuse, and environmental fanaticism, were being explored more thoroughly.

Although not canonical, Frank Miller's The Dark Knight Returns introduced a significant evolution of the Batman's character in his eponymous series; he became uncompromising and relentless in his struggle to revitalize Gotham.

"[155] Comics historian Les Daniels observed that O'Neil's interpretation of Batman as a vengeful obsessive-compulsive, which he modestly describes as a return to the roots, was actually an act of creative imagination that has influenced every subsequent version of the Dark Knight.

"[156] Currently, the Batman's attributes and personality are said to have been greatly influenced by the traditional characterization by Dennis O'Neil and Neal Adams' portrayals, although hints of the Miller interpretation appear in certain aspects of his character.

Before recent reappraisals and continuing debates over post-1975 alterations in Foucauldian biopolitics and genealogies, the story of A Death in the Family had been critiqued by notable scholars for anti-Arabism and Islamophobia, the latter of which can include the orientalist discourses found in the former, on two principal counts.

First, Bruce Wayne initially arrived in Beirut and spoke Farsi, a language that may or may not have been more apposite for the maligned "radical Shiite captors" (e.g., early Hezbollah as "bandits-in-bedsheets") in control of the Beqaa Valley---his ultimate destination.

[158] In a 1990 issue of Detective Comics, written by Alan Grant, a tarot card reader contended, for an inquiring Batman, that the etymology of "joker" can be traced to the French échec et mat and, ultimately, to the Persian māt---to render helpless, kill, or eliminate from a game.

[159] In addition to establishing Tim Drake as a principal character in Batman and Detective Comics, Lauren R. O'Connor argues that the storyline "A Lonely Place of Dying" served as the dénouement of a transition from Dick Grayson's "absent sexuality", which earlier incited reader interpretations of homosexuality, to definitive heterosexual presence in a bildungsroman narrative.

They wisely mobilized the expected adolescent behaviors of parental conflict, hormonal urges, and identity formation to give Tim emotional depth and complexity, making him a relatable character with boundaries between his two selves."

[161] Erica McCrystal likewise observes that Alan Grant, prior to Dixon's series, connected Tim Drake to Batman's philosophy of heroic or anti-heroic "vigilantism" as "therapeutic for children of trauma.

By the end of "Identity Crisis", an adolescent Drake had "proven himself as capable of being a vigilante" by deducing the role of fear in instigating a series of violent crimes.

[162] During his stint on Batman, Alan Grant also introduced new antihero antagonists, such as Black Wolf and Harold Allnut, to explore myriad conceptions of civil society and debates over socioeconomic, political, and cultural issues of the early 1990s.