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. The second count implicated the Joker, garbed in "Arab" attire depicted as "Iranian", Joker's reference to the "insanity" of Iran, as well as Batman's renunciation of Iran in world geopolitics. Superman's chastisement of Batman for his statements, and an encounter with Muslim (and Christian) "refugees", attempted to offset the vilification. 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. 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 as a maturation narrative. O'Connor offers multiple examples from this 1989 storyline, such as Drake's encounter with Starfire and Grayson's heeding of Drake's concerns over Batman's psychology, to substantiate the notion of a heterosexual bildungsroman subplot. Lauren R. O'Connor contends that, for early Tim Drake appearances in the pages of Batman, writers such as Grant and Chuck Dixon "had a lexicon of teenage behavior from which to draw, unlike when Dick Grayson was introduced and the concept of the teenager was still nascent. 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." In the Robin ongoing series, when Drake had fully transitioned into an adolescent character, Dixon depicted him as engaging in adolescent intimacy with a romantic girlfriend, yet still stopped short at overt heterosexual consummation. This narrative benchmark maintained Robin's "estrangement