#“daniel i know your life is your own but BRUCE WAYNE? REALLY? YOU CAN DO SO MUCH BETTER DANIEL-”

[nerdpoe]

Jason agrees to go through the legal hassle of being declared alive again. Mostly so he can go to college like how he wanted.

He would have done it under a fake ID, but he kinda wanted the success of having a Masters in English attached to the name he grew up with.

It's going pretty great, actually! He's making friends, gets to punch random paparazzi's in the face, and learning has always been fun for him.

But one of his college friends, Danny Fenton, is...weirdly obsessed with Wayne Manor?

Jason gets it, he does, the Manor is huge and of course the guy would want to see it as often as he could.

Then he starts to realize that Danny is strangely attentive to Bruce.

Like, actually flirting with Bruce.

Oh no his college friend, who is his age, is flirting with Bruce so hard it's making Bruce blush.

OR; Danny thinks Bruce is hot, and that the outraged faces of the man's children as Danny flirts with him are hilarious. Also Jason started it by trying to flirt with Danny's mom when he met Danny.

[starry-bi-sky]

I saw a post a few months ago (and damn was it really months? In PLURAL?) that was a cracky dpxdc au where the LOS were making Damian clones but the clones kept getting snatched by ghost portals and dropped into Danny’s lap and Danny just goes “ok ig this is my life now” and takes care of each one until he has his own mini army of Damian Clones.

And I remembered it a few days ago, and now I've been thinking about it again. Because I love clone aus (see: clone danny au, the 'danny is thomas wayne' au) because it itches the part of my mind that loves exploring personhood and the exploration of identity and what it means to be clone.

(What do you do when nothing about you is unique? When your face, your eyes, your hands, your hair, your voice, all the way down to your heart, all belong to someone else?)

(When it comes to nature vs nurture what of you came from your environment and your experiences, and what of you was already programmed into you from the DNA that made you?)

(What do you do to make it unique? What do you do to make you unique?)

And if I could remember who made that post I'd @ them right now because it was their original post that inspired this, but I'm just thinking of if the au only had One Singular Damian clone that fell into Danny's life.

(a read more because im apparently incapable of making posts that are less than 1k words...)

One Damian who knew he was a clone and knew that he was to either bring the original back to base or kill him to take his place, who was being trained the same way but kept getting compared to his original over and over again. Like an older sibling who you can never match up to. Who is still a child who craves adult affection and validation and praise, and can't get it because nothing about him is original.

One Damian who, at six years old, in a twist of fate is sucked through a swirling portal and lands in Amity Park, directly on top of, in front of, or in line of sight of one Daniel Fenton, half-ghost extraordinaire and local hero.

What happens next?

Well, for one, Danny recognizes him immediately. He would recognize the face of Damian Wayne anywhere because his best friend was ranting about him all week about Damian Wayne's environmental stuff he does.

And for two, he would recognize that the Damian Wayne in front of him was not Damian Wayne. Because Damian Wayne was a teenager. And the Damian Wayne in front of him is a child. Six years old.

Getting this not-Damian but also-Damian to go along with Danny is not, not an easy task. The tiny Damian is aggressive, regal, and at this point in time, six years old, barely understanding english. He also has a sword.

It takes all day and a google translator to get this Tiny Damian to finally agree to go home with Danny. It's a miracle. Seriously. A tried and true miracle. And its also only when Danny has to fight a ghost does he finally agree, saying something in arabic that Danny doesn't understand.

Danny flies them both home, carrying Tiny Damian like a koala. The ensuing conversation in his room is not any better. It is tiring, long, and exhausting. Tiny Damian is six years old, and every single thing he says when Danny asks where he came from is met with a poorly translated "that's classified".

Danny keeps an eye on the news. There are no reports of Damian Wayne going missing, in fact he's been rather public. Bruce Wayne is not one to lie about his children going missing, and Damian's secretive behavior and young age draws Danny to one conclusion: Damian is a clone.

He doesn't know why Damian Wayne is being cloned. Frankly he doesn't really wanna know, because whatever organization that did it doesn't seem too pure-of-heart if tiny-Damian's immediate attempt of murder when they first met is of any indication. But he's too busy taking care of his city, that he doesn't have time to deal with whatever shady business Tiny-Damian was produced from.

In the end though, he decides that this Tiny-Damian is not going back to whatever place he came from. Tiny Damian disagrees. It is a long, nebulous problem of Damian trying to run away, Danny catching him, and Danny pulling him back home.

In that time, Danny downloads a language app and starts learning Arabic so that they can talk to each other properly. Damian slowly, slowly, starts picking up English.

In that time, Danny also has to inform his friends and his sister about Damian. Tiny Damian is not a fan of this. That is another argument they have. Tiny Damian does not like Sam or Tucker for a long, long while. He only really "listens" to Danny, citing something in arabic that Danny still cannot understand, but has a repeated use of the word "lieazir". It's the only word that Danny can catch in a sentence immediately, because its what little Damian calls Danny.

Tiny Damian, in that front, is very interested in Danny's powers and in his parents work. He finds tubberware of ectoplasm in the fridge once while they're down in the kitchen and calls it something with the word lieazir in it. The other word is something that Danny later learns means water in arabic.

It makes him feel even more uneasy of whatever place little Damian came from.

It takes weeks for little Damian to finally give up on escaping, and then a few weeks more for him to almost entirely lose his spunk. Danny isn't sure what started it. It was as if he'd been flipped with an off-switch.

(Damian had been so confident that the League would go looking for him after his disappearance. He was wrong, and he is crushed. He is still a child, alone, in a country very big and very busy, where nobody understands what he's saying. He feels powerless, helpless.)

(The lazarus boy who calls himself Danyal is nice to him in a way the league has never been, and he's making an effort to learn Damian's language. But he leaves for hours at a time and Damian doesn't have much else to do but wait in this house for him to come back.)

(He tried leaving, many many times, but he doesn't understand the street signs, the roads, the people. He doesn't know where he is, and he feels scared in a way that he's not felt in the League. Danny finds him every single time, hours later when Damian is lost somewhere in Amity Park)

(And he never yells at him. Never. The first time this happens, Damian puffs himself up and prepares himself for this strange lazarus boy to yell at him. Damian feels like he's tripped on the last step of the stairs when Danyal doesn't yell at him.)

(He can tell he's frustrated by the tone of his voice, but when Danyal lays eyes on him he just looks relieved. He gets scolded on the flight home, but Damian doesn't understand any of it other than Danyal just sounds worried. Not angry. He gets a proper scolding once they get back, with Danyal typing into the google translator and playing it for Damian to hear.)

(This happens every single time until Damian finally agrees to stop running away.)

It's with Jazz's help that Danny finally realizes that Damian was depressed. It's with her help again that Danny tries helping with it. It's like trying to get a stray cat to trust him. And with everything else they've done, it takes a long time.

And it is so, so worth it when it all works out.

Tiny Damian doesn't really like Sam, or Tucker, but he likes Danny. And he finally starts calling him his name. His full name, but his name nonetheless. Danny doesn't bother correcting him. He's not looking a gift horse in the mouth. And it's endearing hearing Damian call him Danyal.

Damian in this time, also begins to take more initiative into learning English. And they teach each other words they know. Danny buys flash cards and writes the english alphabet on them, and then finds a book on arabic to teach himself and Damian. Sam and Tucker and Jazz start learning as well.

And then when Danny knows enough arabic and Damian knows enough english, and Damian trusts Danny, Damian tells him he's a clone. It's a quiet moment, late at night when Danny takes Damian up to the ops center to look at what stars they could see through the light pollution.

It'd be very easy for Danny to tell him, "I know. I could tell from the start.". He doesn't, it's not the time nor the place, and Danny's matured enough to know when to open his mouth and when to keep it shut. He lets Damian, almost seven now, tell him that he's a clone of Damian Wayne. Lets him tell him why he was made, what his purpose was.

(Danny will need a minute later to process the fact that Damian Wayne originally came from some kind of... assassin league with an obsession with immortality. But he's focused on Damian.)

In the end, he puts an arm around Damian Wayne's clone and pulls him into his side. Thanks him for trusting him, it must've been hard to tell him, that he's brave for being able to. And if he wants to, they can find a way to get into contact with the Waynes and let Wayne know about him.

Damian hides his face in Danny's ribs and holds him tight, and tells him he doesn't want to. Danny leaves it at that.

Perhaps it would be more morally ethical to alert Damian Wayne that there was a clone of him running around, that his... uh, grandfather was making clones of him. Hell, Danny would have liked it. But little Damian has asked him not to say anything, and little Damian needs someone to rely on; someone he can trust.

And in the end, its not that hard of a decision to make. Danny knows little Damian more than he knows Damian Wayne, and while Danny likes to think he's a good person, he knows he's not a great one. Nor a perfect one. He cares more about someone he knows than someone he doesn't.

If Sam tries to argue with him about it, then Danny will just double down. If Damian doesn't want to tell Wayne about his existence, then it's not their place to say otherwise.

There's a lot more to talk about over Damian's cloning, like what he wants to do moving forward. But that's a long conversation not meant to be one taken late at night. Little Damian is falling asleep at his side, seemingly much more relaxed than he did before, and Danny wasn't gonna ruin that.

And later he's right, it is a long conversation, and a slow one. Talking with Jazz about it helps him figure out what to do moving forward, and their best bet is to let Damian figure out what he wants to do. So he sits Damian down at the dinner table the next morning and tells him before breakfast that he doesn't need to be Damian Wayne.

He doesn't need to learn all the same things Damian Wayne did. He doesn't need to do anything that Damian Wayne does. And little Damian is seven, and he's smart, but Danny still has to word it in a way that's not too complex for him to realize.

And in the end, what he says essentially boils down to "You are not Damian Wayne, you are just you. Don't be anyone else but you." and it'll take more time to drill that into his mind when all he's ever heard and learned from is that he was a copy of Damian Wayne, and he must act like Damian Wayne. But it'll happen.

It's a hard task when Danny's the only person Damian really trusts and he can't be by his side all the time, but he starts to warm up to the rest of Danny's family. The Fenton parents know of him, it's hard to keep a six year old child a secret for as long as Danny did without eventually having to come clean about it. His parents, much to Danny's relief, are very welcoming to Damian.

Damian figures out what he likes. Slowly. He's six years old, almost seven, and nobody expects of him to figure out who he is immediately. No child knows who they are right off the bat. So like any child he begins to explore. His english is better but still rough, and he struggles to read said language, but the Fenton family are happy to help even if Damian learns words that no normal seven year old does. (Many of them scientific.)

Damian realizes he likes stars, even if said interest is influenced by the association to Danny. Danny is all too delighted to tell him all about them, and in the process takes him flying out somewhere where the light pollution doesn't reach and showing him where constellations are.

Damian is six-almost-seven, so he doesn't find all of them, but Danny helps him figure out the easier ones. He tells him the scientific facts behind them, and then tells him about the mythos of the constellations. Later on they make their own constellations and make up stories about what they are.

(Damian adores Danny out of anyone else in the Fenton Family. The name Danyal turns to Dany. If anyone asks, Daniel Fenton is Damian's big brother.)

(He still refers to Jazz as Jazmine, and Danny's parents as Mrs. and Mr. Fenton.)

He realizes that, like his original, he loves animals, and he becomes vegetarian too. Sam is smug and Tucker is disappointed, but Damian doesn't super care about their opinions. ...he's getting better at liking them, even if he thinks Manson is a bit snobby and Foley is too much at times.

Its inevitable that the conversation of school comes into play. Damian can't stay home all day and he needs proper schooling. So after a long talk with Damian, they agree to send him to elementary school.

...And before they can do that the Fenton Family goes through with legally adopting Damian into the family as Damian Fenton. It takes convincing to get the administration to enroll him into the first grade without a proper schooling background.

(On his adoption form, Damian asks to change his birthday to the day he met Danny. Perhaps its not the most responsible thing to agree to, but Danny wants Damian to find himself. And its not like they know when his actual birthday was.)

And despite where he learned it from, Damian quite likes sparring. And he quite likes sparring with Danny in particular. Danny makes it fun, something that was foreign in his old league training, and Danny never hurts him. It's a lot like roughhousing.

Danny tells Damian how he got his powers, and how his parents don't know. Damian wakes up late at night to Danny sneaking out of the room (their house is not big enough to give Damian an individual room, and Danny agreed to share his) to go fight ghosts.

It's upsetting. Damian knows that Danny gets injured in those fights, even if Danny never comes home until after those injuries have been fixed up. He wants to help, and he voices it, and Danny shoots him down.

It becomes an argument, something that has happened less and less over the months.

Damian is experienced.

Damian is a child.

Damian knows how to fight.

Damian is mortal and fragile. He is a tiny, squishy human boy and the people Danny fights are ghosts who are near-indestructible. Who are intimately acquainted with death but also do not remember that humans are capable of it. Especially when they're fighting.

Damian says that Batman's rogues are capable of the same thing, that he lets his Robins help him fight.

And Danny says he is not Batman and he will not allow Damian to fight ghosts with him. Those ghosts will kill him and it will hurt. Dying hurts in a way that is terrifying and unimaginable and he will not risk Damian experiencing it. Not even Sam and Tucker help him in his fights most of the time, they are not able to. Not in the way Danny can.

Damian doesn't talk to him all day the following morning, but Danny does not budge on his decision. Damian tries to follow him out the next night, and Danny catches him and takes him back. Over, and over, and over again.

Until finally he gets intercepted by Skulker while taking Damian back home and is forced to fight him in front of Damian. (If it had been his choice, he would not have let Damian see it at all.)

It's not pretty. Skulker has new weapons, weapons that hurt, a lot. Danny is stuck between trying to take him down and trying to protect Damian from Skulker's attacks at him and from all the debris being created from the fight. It's with Damian's quick thinking and fast feet that finally helps Danny take Skulker out. But Danny is badly injured in the aftermath.

He doesn't have time to take Damian home and get medical attention. So he takes Damian with him to wherever he has his supplies stashed. He doesn't call Sam or Tucker or Jazz, and has to stitch himself up alone, with Damian watching.

Damian is quiet the entire time, he feels awful. Danny's not mad at him -- well, he is. But not because he had to protect him. He's just tired, and a little disappointed in him. Damian doesn't sneak out again. But he still feels helpless.

Danny tells him that that is why he doesn't want Damian to help him. Ghosts, his ghosts, are hard to fight. They are powerful, and his 'rogues' are mean. They will not care that Damian is a mortal child, if he picks a fight with them, they will fight back. And Damian is not immune to certain ghost powers like Danny is.

Damian is silent. He wants to help. But Danny is right: he is a squishy, mortal, living child. There is not much he can do to help Danny. Not without any gear to do it. Not without any powers to do it. He wants to help. He cannot.

Damian, almost-seven-years old, begins to cry. It is the last thing Danny was expecting, and for a moment he is at a loss of what to do.

Damian reaches for him -- in the Fenton family, physical affection is expected. Damian is getting used to it, but Danny is the only one he likes touching him -- and then stops, cringing away like he only just remembered that Danny was hurt.

He only cries harder.

Danny meets him halfway and pulls him into his arms, situating Damian between his knees from where he's sitting. Through his tears, Damian says he wants to help. He wants to help. He doesn't want Danny to get hurt anymore. He doesn't want Danny to fight ghosts alone anymore. He's scared that Danny will stop coming back.

Danny doesn't have anything to say to reassure him. Can't say anything to reassure him. It'll all just be lies. He's not going to stop fighting ghosts, he can't. He's not going to stop getting hurt, he can't. He's not going to bring Damian with him, he can't. He'd never be able to live with himself.

"I'll always come back." He says though, because that is something he can promise. Whether dead or alive, he'll come back.

When the tears finally stop, Damian doesn't say anything again. He sniffles, and presses his ear to Danny's chest, listening to the steady, slow heartbeat. If he puts his ear to his sternum and strains his ear, Damian would almost hear the low hum of Danny's ghost core, like a small dwarf sun.

"If you die, I'll drag you to the Lazarus pools myself." Damian mumbles eventually, his voice sleep-full. It's spoken in arabic, and Danny only understands half of it.

He laughs quietly, and smoothes his hand over Damian's hair. He hasn't had a haircut since he arrived, it's gotten long and there are curls beginning to form. "Okay."

Damian falls asleep shortly after, and with much consideration to his own injuries and Damian's sleeping form, Danny flies them back home.

It's hard to say, but not much changes in routine afterwards. Damian hovers close to Danny, more than usual. Danny still goes out at night, he still stitches himself up before going back, he still goes back home where Damian is waiting worriedly for him. Damian doesn't like falling asleep without knowing Danny is there.

Now the hard question is: when does little Damian finally meet the Waynes for the first time? There's plenty of ways to go about it, both easy and hard. Perhaps we go this way:

The Fenton family are visiting Maddie's sister in Arkansas. And Damian is dragging Danny around through the surrounding forest. It's his first time being in a forest this large since he moved in with the Fentons. Safe to say he is delighted by all of the nature, and he's dragging Danny along with him.

Danny likes the peace and quiet it gives him, he's found that he enjoys the rural area more than he likes the city. He's happy to let Damian point out every plant he recognizes, even if some of it is in arabic.

They walk around all day until Damian gets tired, and then at night when the sky is clear Danny and him go look at the stars. It's peaceful at first.

On the third day of their visit, Damian drags Danny out far from the house. It's slightly worrying, but Danny can always fly them back if it gets too late.

It's in the woods that Danny and Damian stray much too far from Alicia's house, and from there in the early evening that they run into Batman and Red Robin, both of them in rough 'just got out of a fight' shape.

Safe to say, it was the last thing any of them expected to run into. Damian and Danny had stopped at a small crik to rest, and the two vigilantes came through the tree line on the other side.

It was... quite the staring contest.

Damian, now seven years old at this point, forgot to mention that the Waynes were vigilantes when he told Danny he was a clone. But he was told that Batman was his original's father.

Before anyone can say anything, little Damian wraps his arms tight around Danny's middle and stares Batman and Red Robin down. His sharp edges have softened around the Fentons. But he makes no exceptions to anyone else outside of Danny's immediate social circle.

Danny's arm automatically goes around Damian's shoulders, and he looks between both Red and Batman uneasily. If they were here then it meant that there was something unsafe nearby. Danny did not fight the living, and he wasn't going to put Damian in the crosshairs of anything that does.

"Should... should we leave?" He asks, brows knotted together with a frown. He stands. "Is there something going on nearby?"

Batman suddenly grunts, and looks at him. "It's been handled." He says, and his voice is gruffer than Danny imagined it. Lower. Danny is not all that comfortable with that answer.

"Do you guys live nearby?" Red Robin asks, and Danny can't help but notice that he keeps looking at Damian. Warily. In fact, so is Batman.

He pushes Damian behind him slightly, and Damian's grip tightens on him. "Not... exactly." He says, his eyes narrowing slightly. "My family's visiting my Aunt and my brother wanted to explore since it's his first time out of the city, I guess we wandered too far away if we're running into you."

There's no visible indication of whether or not both Bats reacted to him calling Damian his brother. But he can all but feel little Damian preen at the title, it makes Danny's mouth twitch into a smile as his hand finds Damian's hair.

"Would we be able to go back with you?" Red Robin asks, startling both Danny and seemingly Batman, who looks at him instantly.

"Red Robin." He growls out, and Red Robin throws Batman a look of annoyance.

"We are lost, B. They jammed the comms and our trackers back there and it hasn't come back on yet, his aunt may have the signal we need to let the others know where we are."

They end up walking back with Danny and Damian. It's silent, and awkward, and Danny has Damian walking on his opposite side so he's not near the vigilantes. Red Robin is fiddling with a phone but still can't get a signal.

Batman is silently brooding.

Red eventually gives up and shoves the phone into a pocket on his belt, then turns to make conversation with Danny. "I never thanked you for letting us walk with you. Thanks, by the way."

Danny blinks at him, and smiles awkwardly. "No problem, man," he says, "I'm uh, Danny." He glances down at Damian, who looks up at him with big green eyes, and Damian nods quietly.

He looks back at Red Robin, and says, "This is my little brother, Damian." And Damian peers over his side and glares at Red Robin -- and Batman, who looks over when Danny says his name.

"He looks like Damian Wayne," Red Robin notes, head tilting like he's inspecting him.

Danny huffs dryly, "We get that a lot."

Red Robin smiles at him, its a tilted thing. It makes Danny uneasy. "Where did you say you were from?"

"I didn't," Danny says bluntly, and he really doesn't want to tell them where he's from. Not when Red Robin was acting strange, but they're vigilantes and notorious for their detective skills. If he's suspicious, they'll look into him. "But I'm from Amity Park."

Damian in that moment, peers around Danny again and scowls at Red Robin. Full on scowls at him, as if it were the first months when he met Danny. "You're being nosy." He sneers, his hand squeezing Danny's.

"Damian," Danny hisses, suppressing a smile. Damian jumps like he's been startled, and looks up at him with big green eyes. "He's just being curious."

(He lets his smile slip through briefly, just to let Damian know he's not that upset. A tension leaves his little brother's shoulders.)

"But he is." Damian continues, a whine leaking into his voice. Danny jabs him in the ribs with his fingers, and Damian jumps, swatting away his hand with a squeak.

"Would you rather have us walk in dead silence, Dames?" He goes for Damian's ribs again, a grin stretching across his face as Damian jumps back again and swats his hand. "Hm? Hm? We could just walk in awkward silence for the entire trip back, I know you just love awkward silence, little brother."

(It's funny, saying little brother always sounds so uncomfortable when he reads it in books and watches it on tv. But Jazz always makes it sound so natural when she does it, and Danny finds that he sounds the same too.)

Damian continues to bat away his hands, but it's not enough to prevent him from squealing with laughter when Danny gets a good hold on him and starts tickling him. Danny's grin only gets bigger, and he swoops Damian up with his arm and holds him like a football.

"Is that it? Huh? Me, you, and two vigilantes walking back to Aunt Alicia's cabin in complete, utter silence." He says, "You won't get to hear any of my amazing jokes."

Damian's wriggling, trying to pound on Danny's ribs, he's giggling uncontrollably. It's the best sound Danny's ever heard. "Your jokes are awful! Laeazir! Put me down!" He cries, grinning from ear to ear.

(From the side, both Red Robin and Batman tense up.)

Danny chuckles, and through a short series of flips, has Damian sitting on his shoulders. "I will not. You're sitting up in air jail for insulting my hilarious jokes."

Damian tugs on his hair in revenge, harrumphing at him but making no move to get down. Danny squeezes his ankles playfully, and looks back to Batman and Red Robin.

Both vigilantes look at him like he's grown a second head.

....Red Robin looks at him like he's grown a second head. Batman just stares, and then looks away. Danny tilts his head at them, his smile waning. "You guys look like you've seen a ghost or something."

(Damian tugs on his hair again. A silent boo at him.)

Red Robin jerks, "Oh, sorry." He says, not sounding all that sorry. "It's just... I've lost count to how many times I've saved Damian Wayne from the occasional kidnapping and he's always been very... serious. It's just weird seeing a kid that looks like him be... not serious."

From his shoulders he feels Damian hide his smile in his hair, that's another thing they can put on their "Things That Damian Does That Damian Wayne Does Not" list. It started as a joke, but it's been surprisingly helpful for when Damian is questioning himself.

However, Danny is not a fan of the comparison, and he smiles widely, perhaps a tad passive-aggressive. "It's a good thing that my Damian isn't Damian Wayne then." He says, giving him the slight stink eye.

Red Robin picks up on it quickly, and nods.

The rest of the way is spent in idle conversation. It's oddly casual, even if most of the conversation is Danny talking about himself. It's annoying, but he unfortunately understands the reason. Secret identities and all that.

Damian interjects a few times, some parts to talk to Danny, and other parts to throw shade at Batman and Red Robin. Mostly Red Robin, who seems begrudgingly used to it.

("I'm surprised you haven't asked me much about myself." Red Robin says at one point into the conversation. Over his shoulder Batman glares at Red Robin. "A lot of civilians do when they're able."

Danny stares at him. "You're a vigilante." He says, frowning, "Isn't it superhero 101 that you don't ask superheroes for their secret identity?"

"You'd be surprised."

"Huh. Well, no. I'm not gonna ask you about yourself. I quite like talking all about me.")

When they finally reach the cabin, it's late into the night and Danny has moved Damian from his shoulders to his front in a koala-like carry. Damian's fast asleep with his head on Danny's shoulder.

His family was also frantically searching for him, and Jazz sees him first. She immediately turns behind her and yells "I FOUND HIM!". And then sprints over to him, his parents thundering not too far behind.

Both vigilantes are subsequently ignored as Jazz dotes over him and Danny, and soon enough so is his mom and dad. They're all talking all at once, asking him where he was, they were worried sick, did he know how late it was.

He shushes all of them, loudly. And whispers that Damian is sleeping. His family then immediately quiet themselves, and go back to yelling at him in a more appropriate manner.

"Me and Damian walked too far by accident." Danny finally says when he can get a word in, and then he jabs his thumb in Red Robin and Batman's direction. "We also found two superheroes who need assistance."

The speed of which his family all snap their heads over to the direction he's pointing is almost comical. As is all of their expressions of shock.

His mother is the first to regain her senses, and she sighs at him. She sighs! "Only you, Danny." She says, and Jazz snorts into her arm.

[avaritia-apotheosis]

Phantom Children Ch. 8

What's this? An update! Massive thanks to my betas for helping me get through this chapter <3

In Which: A few answers are given to the family and Danny is rudely awoken

[Side note: If you wanna know the general ages of the batfam, its listed in the AO3 version. I also talk about katanas in the end notes ^-^]

AO3 | Prologue | 7 | [ 8 ] | 9 DAMIAN INFORMED TODD—and Drake when he arrived on his bike sometime later on—that the boy whose face is plastered across the monitor was neither a picture of himself nor of Father.

Drake took one glance at the monitor and sighed, pressing his fingers against the bridge of his nose. “Just when I thought this day was getting better.”

“What, did that café on 5th finally let customers supersize their drink?”

“God that would be the dream, wouldn’t it?” Drake sighed wistfully. “Nah, but I did get a lead on where some of that stolen Cadmus tech might’ve ended up. I was gonna spend the night following up on it, but I guess we have to deal with,” he gestured to the monitor, “whatever this is.”

Todd leaned against the edge of the computer, arms crossed over the red bat insignia on his chest. “What are we dealing with this time, brat? A clone? An alternate universe counterpart? Magic shenanigans?”

Maybe. Perhaps. All of those were perfectly valid conclusions for the enigma that was Daniel James Fenton. (Why Fenton and not al Ghul? Or even Wayne?)

Damian, too, was a genetic experiment; a ‘test tube baby’ as Drake put it at times. Damian was born for greatness, created to be perfect. The perfect soldier. The perfect assassin. The perfect heir. Was this boy—Daniel—like him as well?

A failed one, then. Perhaps the precursor to Damian’s own existence. But that would not explain why the boy was allowed to exist for so long. His grandfather demanded perfection, especially from those of his own blood. If the boy was a failure, he would have been eliminated immediately, not sent to live with some eccentric scientists in the Midwest.

Damian was not naïve enough to think that his mother and grandfather did not keep secrets from him. On the contrary, he expected it. The League of Shadows dealt in secrets as often as it did in death. Certain information was worth its weight in gold, whether it was given or buried away.

But he could not help the sharp pang in his chest. A lightning strike, quick and electrifying at the notion that they kept secrets about their family from him.

His father’s face flashed in his mind. The shock turned into a slow, dawning horror. That flicker of light, of recognition, as he scrutinized the contents of the flash drive and cross-referenced it with a public database.

And grief.

Damian recognized the grief.

Alfred, too, nearly dropped his tray of fresh-baked cookies when he stepped in front of the monitor. His usual unflappable demeanor was momentarily broken at his father’s whispered “Sixteen years. Alfred— he’s sixteen years old.”

His father knew of the boy. He was allowed to know of Daniel when he was not allowed to know about Damian.

------

Grayson returned to the cave with a distinct lack of energy in his step. His mask dangled off the tips of his fingers, chin angled downwards and covered largely by his hand. For a split second, their eyes met. Grayson shifted his gaze away, scratching the back of his neck. Father told him, then. Damian wondered how much Father revealed to his favorite son.

Damian clucked his tongue and buried himself deeper into the chair, arms crossed and pointedly looking away. If it was not for his accursed ankle, he’d have headed out to the training ring to take his frustrations out on the dummies.

“Oh, thank god you’re here, Dickface. Damian’s completely out of it.”

Damian shot him a look. “Shut up, Todd.”

“Leave him alone, Jay. Is Tim back yet?”

Drake emerged from the changing room in a dark green shirt, a fresh cup of coffee in hand. He took one long sip before exhaling. “Yeah, I’m here.”

“O-kay…” He pressed his hands together, mouth thinned into a grim line. “Uh, hey Tim, glad to see you back safe. Bruce is coming down soon to explain some things.” He let out a deep sigh, carding a hand through his hair. “This kind of thing would probably be better with the girls around, but I—god, I don’t know.”

Todd raised an eyebrow. “Don’t know whether to call Steph and Cass in Hong Kong, or don’t know what’s going on?”

“Yes.”

------

When Father arrived, Pennyworth following dutifully behind him, it was with an aching slowness in his gait. His steps measured and precise, preternaturally quiet as he made his way to stand by Damian’s chair. Damian sat up straighter, shoulders squared and back an inch away from the backrest. The rest, even Todd, stood at attention; an ingrained habit among Robins and an amusing instinct even among the senior heroes of the Justice League when it came to facing the Batman.

His father kept a steady hand on Damian’s shoulder, and Damian, shamefully, leaned into the touch; his head inclined towards his father’s hand so much so that he could feel the ends of his hair being pushed up slightly as he brushed against his father’s forearm.

He spoke with his usual monotone, as if he was heading a Justice League meeting as opposed to unveiling the secrets surrounding that boy. He brought forward the few photos they obtained from the flash drive. “A few weeks ago, we were alerted of suspicious movement from the League of Shadows in Amity Park, Illinois. Their objectives are, as of now, unclear, though it appears to be tied to the death of Amity Park resident, Daniel Fenton.”

One photo was a standard ID picture people get for their driver’s license, the lighting deliberately horrible so that any attempt to look decent would always end in failure. Another photo was a little better; a candid scene of him chatting with two others his age, a Caucasian girl in gothic-style clothes and an African-American holding a sleek, but still very outdated PDA. His blue eyes crinkled at the corners, hand reaching up to his face to stifle a laugh. There were other photos like this, some candid, others posed. At the forefront of each, a boy that looked too much like his father, too much like Damian.

His father glanced at the photos. He shut his eyes and when he opened them again, he fixed them on some distant stalactite in the Cave. “Around six months ago, Daniel was pronounced dead in a vehicular accident. A body was present, but according to police reports, he was identified via his driver’s license as opposed to any kind of DNA profiling.” He leaned over Damian’s chair to pull up a profile of Masters. “Our source—Vladimir Masters, mayor of Amity and a friend of the Fenton family—indicated his belief that Daniel is actually alive. I am inclined to agree.”

“He’s your son, isn’t he,” Drake said, more of a statement than a question.

Father gave a curt nod. “I cannot say for certain until I can perform a DNA test, but I highly suspect that to be the case.”

“First the demon spawn, now this. Great.” Todd made a hand motion towards the screen. “You know, Bruce, not knowing you have a kid once might be a coincidence, but twice? How do you do that?”

“As of three hours ago, I was still under the impression that my son never made it to term.”

“What?”

“Over sixteen years ago I was involved in a mission that put Ra’s and I on the same side. During that time, Talia and I entered a relationship that resulted in a pregnancy. Though initially ecstatic, she eventually led me to believe she miscarried the child and pushed me away. For what ends, I do not know, but trust me Jason, if I knew—” He paused, the hand that was not on Damian’s shoulder curled into a tight fist.

Father pinched the bridge of his nose. “Why she hid it from me then doesn’t matter. Why Talia wants him back now is important. Judging from Daniel’s records, he was adopted into the Fenton family as an infant and has since lived a seemingly normal life as a civilian. His adoptive parents, Jack and Maddie Fenton, are brilliant scientists and engineers focused on the field of paranormal studies. Eccentricities aside, they have zero connections to the League of Assassins or any other concerning parties.”

“So why now?” Dick asked, shifting his concerned gaze from Bruce to the static picture of Danny’s tired smile. “Why, after all this time, decide that now would be the best time to recover him?”

------

Danny’s experienced plenty of rude awakenings before, but waking up at the ass-crack of dawn to avoid his kidnapper-slash-assassin-slash-biological-mom launching a surprise attack takes the fucking cake. He can’t believe he’s saying this, but thank god for all those late night ghost attacks that conditioned him to be a light sleeper. And, of course, the League’s insistence that everyone be in optimal condition regardless of how little sleep you actually got.

Danny kicked Talia off of him, ripping his blanket away before scrambling to his feet. Seriously, if the universe decided to spontaneously give him powers again, he’d really like an upgrade to his ghost senses, please and thank you. Something that works on humans and not just ghosts. Like spidey-senses. He’d really, really like some spidey-senses.

“Your reaction times have improved considerably,” Talia said.

He eyed the katana sheathed beside his bedroll. “Thanks. Who could have guessed that constantly challenging someone to a spar in the unholy hours of morning would make them paranoid to sleep too much? Really, how am I supposed to grow taller at this rate? ” If he could just get it--

She smiled, taking a step forward. “Prepare yourself.”

“Heh.” Danny stepped further away from Talia, keeping his back to the mouth of the cave. One hand stretched in front of him and the other, coated in a green light, was kept hidden behind his back. “Am I actually gonna get some answers today?”

“Let us make it interesting. Last 10 minutes against me and I shall tell you more about your brother.” Talia twirled her blade. “If you happen to draw blood, you may ask any one thing of me.”

“Anything?”

“Within reason.”

His face caught between a grimace and a smile. He’d rather be sleeping right now, but if he had to be awake, then he’d better make the most of it. “Deal.”

Talia’s smile dropped. She veered her body to the right, barely dodging the streak of bright green that whizzed from behind her. The ectoplasmic energy that surrounded the katana bled away as the handle connected with Danny’s outstretched hand.

She quickly glanced back at Danny’s bedding. Beside it lay an empty sheath. “You have telekinesis?”

He shrugged. “It comes and goes.” Yeah, no way was Danny gonna admit that seven-out-of-ten-times he forgot that he had telekinesis. Besides, that shit was hard to do when he wasn’t Phantom.

“A surprise attack from behind is a sound strategy, Daniel. Though it’ll take a lot more than that to harm me.”

Danny pointed to the side of his cheek. “Are you sure about that?”

Talia frowned. She reached up to her face. Her fingers brushed against her cheek and came away with a thin streak of blood.

Danny grinned, pointing his blade at his opponent. “First blood goes to me.”

------

Fact: most fights don’t last long. An average street fight could last anywhere between 25 to 40 seconds, and sword fights rarely last over a minute. Like Talia said, the goal of a fight was to end it with as few injuries to oneself as possible. Humans, even the most skilled ones, can rarely last long in a fight. Prolonged combat is suicide; it makes you tired, makes your muscles heavy. It’s nothing like what Hollywood would have you believe.

Even with Danny’s own enhanced stamina and Talia holding back, he couldn’t last a full ten-minute spar. If Talia didn’t finish him within twenty-five seconds, then he’d fall by his own human limitations.

But the goal wasn’t to spar continuously for ten minutes.

He only had to last that long.

Danny sprinted out of the cave. The sun barely peeked out of the horizon, a thin line of deep orange breaking apart the wide expanse of blue-black sky above. He couldn’t see shit; great news since that meant there’s a good chance Talia couldn’t either, but that doesn’t fix the fact that he can’t see.

Nearly stumbling on the ice, Danny veered to the left. The edges of the lake stopped at towering rocks twice Danny’s height, leaving little room for cover. Though if he remembered correctly, there should be a few crevices here and there to hide in.

“You’ll have to be faster than that, Daniel.”

Shit—

Danny stopped. He brought his sword up to parry Talia’s strike and twisted away, putting distance between them.

Well, so much for just avoiding her for 10 minutes.

He adjusted his grip, keeping his sword steady and eyes trained on Talia as they circled each other. Danny lunged with an overhead strike. Talia used one hand to block the downswing by gripping his wrists. She thrust her sword forward, the tip harshly poking Danny’s abdomen.

“Less than three minutes.” Talia let his wrist go, Danny’s arms slumping to his sides.

He sighed as he sheathed his sword. “Damn, I thought I’d last longer than that.”

“You made a good effort,” Talia assured him. “Putting as much distance between us at the beginning was a good strategy. You recognized the win conditions immediately and attempted a battle of attrition.” She placed a hand on his shoulder. “I am very proud of you habibi, especially as you managed to draw first blood.”

A warmth grew in Danny’s stomach at the words, heating his cheeks. Sheepishly, he scratched the back of his head. “I wasn’t entirely sure that would work, honestly.”

“It was clever; half a second later and you might have even killed me. You are an al Ghul through and through” She brushed his hair out of his face. “What would you like as your prize, then?”

Danny’s heart clenched. He frowned, dropping his arm to his side. If I was such an al Ghul, then why didn’t you keep me? The question lodged itself in his throat, stifling his thoughts. It was something he’d been wondering for a while, actually, in the moments of solitude he had at the compound. Talia, during their training, would always remark at his potential. How talented he was, how adaptable he was, how much greater he would have been if he had been trained at a younger age.

Well then, why wasn’t he? Why did she give him up?

But each time he tried to ask, his tongue would turn to lead and the moment would pass, the question still left unsaid and simmering at the back of his mind. A Pandora’s Box that held none of the world’s evil but all of Danny’s possible shortcomings.

He could ask the question now.

He could.

He didn’t.

“Why did you take me?”

Talia tilted her head. “It is because you’re my son.”

“No. Not that. It has to be something more than that. You had sixteen years to come back for me—or, hell, you could have just never left me.” His breath hitched, fingers mussing his hair and hiding his eyes. “Why else did you take me?”

“It is true that there was more than one reason why we decided to retrieve you from Amity Park. One of which is because you are my son and an heir of the Demon’s Head.” Talia stilled. The dark skies of dawn made it impossible for him to read her. “The second reason was to protect you.”

“You kidnapped me…to protect me?”

“Knowledge of the ghosts of Amity have spread through the more insidious parts of the world. There are many out there who would pay exorbitant fees to study one of you or to use you.”

Use him? What did she mean by—

Oh.

Ghosts—Amity Park’s brand of ghosts—were a new element that the world had to contend with. Amity Park might have a crime rate of zero but that wasn’t the case everywhere else. Theft, assault, murder; the world was rampant with crimes and criminals clawing their way to the very top. Having ghosts, even ones with the most basic powerset, would be a huge advantage.

“There’s no way that would work,” Danny insisted. “Most ghosts just want to be left alone, and the ones that want to wreak havoc would never work with humans. The only reason they even work with halfas like me at times is because they still consider us as ghosts.”

“If my sources are to be believed, ghosts might not even get a choice.”

Danny’s blood curdled in his veins.

No.

Someone’s found a way to control ghosts.

[miss-choco-chips]

F’coffee

-.-.-.-.-.-

Honestly. What did Bruce even think would happen? He should have known better.

Tim wasn’t Dick, indoctrinated from a young age to be a good, somewhat (when convenient) obedient son. Tim only went along with Bruce’s shit because, more often than not, it aligned with what he himself wanted. He also wasn’t Damian, so easily manipulable when one knew which buttons to push. And he certainly wasn’t Jason, who would sink his own ship to kill the captain.

So, when Tim and Bruce fought, and his adopted father decided to pull the ‘you live under my roof and work in my company, so I’m the boss all the way through’ card, well…

Yeah. Tim wasn’t going to take that lying down. He had a childhood of zero authority figures to obey and an overabundance of sass, plus a complete lack of fucks to give.

It was bound to go down like this.

-.-.-.-.-.-.-

And, well. Tim had money. Like, an absurd amount of money. Even before being adopted by playboy billionaire Bruce Wayne, Tim had his own no small fortune stashed away, a couple of properties gathering dust, two trust funds and more antique cars that he knew what to do with. So he could just… burn through that money, or sell the cars, or make a living of renting the buildings he owned, and he would barely even scratch the surface of his deep wealth.

But it wasn’t about being able to live comfortably with minimum effort. Tim was trying to prove a point here. What point, fuck if he knew. But a point.

So here he was, on the other end of the wooden counter, a cute red cap falling over his eye as he looked dead into his friend’s eyes.

“Tim. Tim, you’re rich. Why are you working in a coffee shop?”

Seeing as Kon and Cassie were currently too busy being shocked, Tim shrugged and went back to cleaning the cup in his hands.

It was a plastic cup. It didn’t need cleaning, he could just toss it away. But it was his favorite plastic cup, and he was gonna save it as a family heirloom forever.

(The fact that the pretty customer from the morning shift had drawn cute little doodles all over it had nothing to do with it’s worth.)

“Teenage rebellion”, he finally said, carefully putting his treasure away.

“You are twenty.”

“Time is a social construct and I’m but a slinky falling down an endless flight of stairs.”

“That doesn’t make any sense.”

“Your face doesn’t make any sense. How is it so symmetrical? It defies nature.”

-.-.-.-.-.-

“What can I get for you?”

“I'll have a mocha caramel latte-chino, made with skim milk, no whipped cream.”

“Bart, no.”

“Please put that in a grande cup”

“I’m begging you, don’t do it.”

“But use the same amount of coffee that you'd put into a tall.”

“I’m warning you, you don’t want to do this.”

“That way there's about an inch of extra room on top.”

“I wish you had an extra inch so I could look straight into your eyes when I murder you.”

“To stir in my own nutmeg without spilling any coffee at all.”

“You’re dead to me. Also, I AM going to make you that drink and you WILL finish it or so help me God.”

“What do you want, Kon?”

“To not be here when Tim’s looking like he’s planning both our unsolved murders.”

-.-.-.-.-.-

When Kon entered the shop, the messenger bag slung over his shoulder bumping against his hip as he rushed in to get his caffeine intake before his evening classes, he wasn’t surprised at the scene.

Cassie being there was a given, since there was always at least one of them there at all times, supporting Tim in this ‘independence’ thing he was dead set on trying. Kon himself had his Tim Shift later that day, after his creative writing course. Bart had probably just left, considering the amount of empty cake platters littering the counter.

Tim being face down in said counter, uncaring about the mess, was also old news. The dude barely ever seemed to leave (Kon was almost completely sure he actually owned the place, since he’d never seen any sort of manager and Tim’s hours seemed to work around his weird sleep patterns all too perfectly), and distraught was his general state of being, so. Normal day as far as he could see.

Still, he had to ask. “What is it today?”

Cassie, eyes never leaving her magazine, chin resting in one hand as the other one scratched at Tim’s scalp, snorted.

“A cute boy started working in the tattoo place next door. He came in for a morning fix, when Tim was barely awake, and he said something stupid, so he’s been having an existencial crisis ever since.”

“I said ‘you too’, Kon. He said ‘thanks for the coffee, I’ll enjoy it!’ and I said ‘you too’. What is wrong with me?”

Kon snorts a little. Tim doesn’t seem to be very interested in doing his actual work, so he just jumps over the counter and starts working the machines himself.

“You know that’s a question you can only ask your therapist, Tim, but if you need to know, I’d say you’re highly sleep deprived and a dysfunctional bi?”

At that, Tim does turn to look at him. There’s some cake frosting clinging to his eyelashes, and his hair is a mess. It looks cute, to be completely honest, and Kon has to leave his unfinished latte on the side so he can hug the little shit.

“Aw, don’t pout, Timbo. I’m sure he thought you were cute. Just try to sleep a bit more tonight, so when he comes back tomorrow you’ll be a little more alert and won’t embarrass yourself.”

“What do you mean, when he comes back?”

“I mean, if he works next door, he’ll probably get his morning coffees here all the time, right?”

That seemed to drive Tim back into the distraught spiral. He smashed his head back into the counter, making dying whale noises until Cassie’s hand returned to his scalp.

Kon privately thinks Tim’s life is starting to sound like fanfiction. He wonders which type of background character he would be, in it.

-.-.-.-.-.-

The shop is called F’coffee. That’s why Cassie is convinced Tim is the actual owner; no one else would really think that’s a proper name for a serious establishment. Kon isn’t convinced all the way yet, but with Bart on her side and Tim staying silent on the subject, it is just a matter of time until she convinces him it’s totally okay for him to do his gym routine there. She thinks, with Tim being his own boss, no one would tell him to stop it, and it would help his friend’s business to bloom with new customers.

The place's general aesthetic is exactly what you would expect, with old wooden tables, comfy chairs, potted plants hanging from the walls and tall windows just a little bit stained. The smell is constantly of the strongest brew Tim has, Death Coffee (which he’s actually not legally allowed to sell, so he keeps it for himself), and just setting a foot in makes her feel instantly awake. It's also always warm, and the sweets on display look mouth watering no matter your personal preferences.

In short, it looks like something out of a movie. It’s a tad too perfect for her friend, but she thinks it also fits his obsessive need for perfection.

Except for the board. Oh, the board. Cassie loves it more than life itself.

Tim has divided the drinks in categories. And made up names for all of them.

“Yes, hello! I’d like to order a grande, iced, sugar-free vanilla Latte, with soy milk, but I can’t seem to find it in your menu…”

Tim’s dead eyes turn to Cassie for a second, before facing his customer again.

“You’re probably looking into the Normal People section”, he points out, before raising his hand to signal a bit to the left. “There you have the Pain In The Ass selection. There’s nothing just like you asked, but you have the It’s Britney Bitch beverage, which is almost exactly the same except I’ll add a middle finger drawing in the cup and charge you extra for emotional damages. Also, we’re out of soy milk.”

Or…

“Hey, good morning! I’d like to order…”

Tim raised a hand, stopping the chirpy, good looking young man dead in his tracks.

“Don’t tell me, I know what you need. I’ll just go ahead and prepare it.”

“But you don’t even know what I/”

“You’ll have a Cougar Bait. It has cacao cream, a strawberry pucker and some grenadine seeds. I think it's fitting, for you.”

And also…

“Hey, hum… Sorry, I just have to ask… what’s on the ‘Barista’s heart’ drink?”

“Cacao powder, almond milk and espresso. Also some organic coconut ash, that gives it the blacker-than-night color, that’s just a shade lighter than my soul.”

“...noted.”

Cassie snorts into her cup of Jack it up (coffee that tastes just like a Jack Daniel’s; having Tim working here has opened up her eyes to the possibilities), watching as Tim makes his own usual.

“What’s in that one?” She asks, out of curiosity, when she’s sure there’s no other customer close by.

“Six espresso shots.”

She waits for a second. Tim finishes the drink, carefully handling the dark liquid inside his favorite plastic cup.

“...okay, and?”

“And that 's it.”

“Tim, that-- that would kill you?”

“Duh. Why did you think it was called The Last Sip?”

-.-.-.-.-.-.-.-

[thenightling]

The Dreaming: Waking Hours Issue 12

Okay, let���s dive into this.  Today I just finished reading the final issue of The Dreaming: Waking Hours.  I’m still not particularly happy with how the comic handled “true names.”  I feel it would have been more respectful and empowering toward trans people to have Heather BE her true name instead of having her stop the Unseelie from saying her dead name (implying it would still count as a true name).  I know she said there’s no such thing as a true name but I think for a lot of people (trans, or just those that never liked their birth names and picked a different one later in life) it would be better to know that the name you most heavily associate with yourself IS your true name.

Batman Beyond actually handled this a little better in having Bruce Wayne reveal that Bruce is NOT the name he calls himself in his own mind, making it clear that for him, Batman IS is true name, even after he retired and passed the mantle to Terry.

The 1985 Fright Night also handled this with the has-been horror actor Peter Vincent.  He went from saying “That isn’t even my real name.”  To “I AM Peter Vincent, the great vampire killer!”  We never learn what his supposed “real name” (Read: Birth name) was because it doesn’t matter.  He became the character- the hero he had always pretended (and wanted) to be.  Peter Vincent became his true name.  

But anyway, that was all in issue 11.  The True name part could have been handled a lot better and that was my biggest disappointment for this comic.

Ultimately the story had a happy ending for Ruin and Heather realized that Faerie probably wouldn’t embrace democracy (Thank God!).  Though the anti-monarchy rantings were a bit annoying.  Who were they toward?   What reader of The Dreaming is going “Hmm.  You know, America could really use an absolute monarchy right now.”?

Nevertheless Heather remains my favorite trans character... No, correct that.  She remains my favorite original character in ANY Sandman spin-off, period. She’s well-developed, flawed, yet likable. And she’s not a flat, or boring, self-insert.  She’s actually a good character.      

I wasn’t too surprised that Daniel was portrayed as a bit of an ass here but I was still disappointed.  It seems the only writer who doesn’t make Daniel a complete ass is Neil Gaiman, himself.   I said it before and I’ll say it again . I think some authors must resent him because they’d rather be writing Morpheus but they don’t dare ask if they can out-right bring him back in the contemporary setting. 

Also Daniel’s reasoning doesn’t make sense.  Faerie and the Heavenly hosts weren’t angry because Ruin wanted to be with the man he loved. That was happenstantial.  And Heather told him that Jophiel helping Ruin find his love is what enabled him to ascend back to Heaven.  Jophiel had ot understand and learn the importance of love. That was good.  That was sweet.   

The only explanation I can give for Daniel’s behavior here is jealousy.  Daniel came off as jealous and resentful that his own romance in Simon Spurrier’s (Hiss) version of The Dreaming (which is sadly still canon...) didn’t work out.  And he did not expect Ruin to succeed so when he did find his true love Daniel got jealous and spiteful.  That might not be what G. Willow Wilson intended but that’s how it came off.  “If I can’t have love with a mortal, no one can!”   

(Aw, look!  Daniel’s first “You dare!”)

I do kind of like Heather threatening Daniel with the spell that was used to summon and trap Morpheus though.   There is the flaw that Neil Gaiman did repeatedly say that the spell would not if Morpheus had been at full strength.  First, the spell was never really intended for him (or Unseelie for that matter but she used it on the Unseelie too).  Second, it only worked on Morpheus the first time because he was so weakened after the events of The Sandman: Overture. 

For the sake of Daniel’s decently I’ll pretend he faked fear of the spell because he WANTED to be stopped.  He knew he was wrong to try to separate Ruin and his love but he felt obligated to try.  That sits better for me than Daniel legitimately just being an asshole and promising his family would go to war against Heather’s... again.   Umm... Daniel, your family never went to war with the Burgess family.  Morpheus cursed Alexander and you forgave him and that was that.  What war?!   

Ah, well.  At least Ruin got his happy ending.  But I don’t quite get why he needs to be mortal to have that ending.  That feels unnecessary to me.

Nevertheless, it was still a satisfying ending.  I just wish Daniel hadn’t been made a last minute antagonist just so if Heather turns up again later Dream can’t be an ally...  And I sense that was the intention.  I like Heather but this part feels contrived. 

In general it was a satisfying ending though and there were parts I loved.  I love Heather. I liked the use of the spell even if it shouldn’t really work on Daniel.  I was happy Ruin got the one he loved.  I was very satisfied and happy with how Jophiel’s story ending, that he needed to learn the importance and value of love.  

I’m glad it wasn’t cynical bitterness there but actually a show of Heaven’s sense of value on love. I was a little worried this was yet-another story where Heaven and its Angels were ultimately going to be treated as heartless jerks and I was getting quite tired of that in adult comics.   This was a nice change.   I liked it more than I didn’t.  

And this is still the best version of The Dreaming to date.  It could have stood fine on its own without Simon Spurrier’s The Dreaming.  I would have probably liked it better if it wasn’t attached to that.   But I am still happy with the outcome.  Still the best Sandman spin-off to date.  And with the most likable protagonist (Heather) and Casper the Friendly Nightmare (Ruin).   

[brucewayneargento-moved]

Lucky I’m In Love With My Best Friend

Fic also avalible on Ao3

Summary: Lace (Wallace West II) gets tired of his wedding with Damian always getting interrupted by some apocalyptic crisis so he just asks him to marry him casually after a mission.

He looked around the rubble, trying to make sense of all the people who were there. Rose, Tanya and Avery were making sure everyone was okay while William and Jackson were using their powers to take out the rubble; He turned his head the other way and saw Wally talking to the batfamily, specifically to Dick and meanwhile his fiancé was regrouping the Titans.

He focused his gaze upon his Damian, his Redbird suit covered in dirt and blood, he probably was going to pretend he was fine for a few hours before he collapsed on bed and slept for at least two days.

That’s when it struck him.

“Let’s get married,” Lace said suddenly. But he blinked upon realizing that he said in a really quiet voice and nobody could hear him.

He ran towards his fiancé, transforming into a gray and red blur, he appeared next to Damian making him jump a little, he turned around.

“Let’s get married ” Lace repeated, this time to him “Right now”

Damian’s eyes widened, Nobody, who was next to him, took out her helmet and stared at him with her mouth slightly open.

“Did a parademon hit your head?” Redbird asked.

Wallace frowned: “I’m being serious, let’s get married now.”

“Why?”

“We’re surrounded by our friends and family, the world literally almost ended and because I’m sure we will never have this opportunity again.

Damian opened his mouth to respond, but truth to be told he wasn’t sure what to say, it seemed like his wedding was always interrupted by some sort of apocalypse level threat, so it made sense that his husband-to-be seems to just want to get over it.

“C’mon,” Wallace pleaded with him. “Let’s get married and then I can run us both to Byalia and we’ll be there for a month.”

Damian smiled shyly, Oh what the hell.

“Alright,” The man agreed. “But as long as you propose to me again.” as soon as he pronounced those words his ring was gone and his fiancé was on one knee.

“Damian Ibn Thomas Wayne Al Ghul will you marry me?” he said with stars in his eyes.

“Dude if you don’t do it, I will” Maya said

“mmm,” Damian pretended to think it over for a minute and then grinned. “Alright I will marry you, Wallace Daniel West II.”

They both laughed and embraced each other, then proceeded to kiss, as they pulled away they realized all of the people surrounding them were applauding and cheering.

“We need a priest,” Damian suddenly said. as if he was just realizing how much work came into planning a wedding.

“I can marry you,” everyone turned around and saw Djinn raising her hand. “I have the power to.”

“We also need a band, “ Wallace remembered. 

“I can help with that, me and Dinah can be prepared in no time.” Emiko said.

“I can make an aisle out of will.“ Tai smiled.

“Are you getting married in your superhero costumes?” Maya asked.

“I’ve already called Talia,” Bruce said. “She will bring Damian’s sherwani.”

“I can speed to the dry clean.” Wally said winking at Lace.

Soon enough everyone had a task to do, from cleaning up the area to just simply providing moral support to the grooms. It took them practically all day but the couple couldn’t be more glad for a sunset wedding.

Damian changed quickly into a telephone booth, advised by Jon and went outside wearing a lime green sherwani.  Colin, Jon, Maya and Maps were about to comment until Talia came out of nowhere and started to pass a roll brush on his son.

“No son of mine will look dirty at his own wedding.” She proclaimed.

“This is giving me League flashbacks, but the good ones.” Athanasia said, making everyone jump a little, as no one had seen her sneak in either.

Meanwhile Wally had given Lace the suit, a red one with yellow flower details, and Tanya had given him a scrunchy to tie his hair on a manbun.

“Do we have to stay in our uniforms?” Jackson asked. “Can’t we at least change?”

“We can’t look better than the grooms.” William said.

It was seven PM where the ceremony finally started. As he had promised, Tai had made an entire wedding aisle out of will. With flowers, pews and a podium included.

Djinn was in the middle of the podium with some scriptures written in arabic on the table. At the right side there was: Tanya as the maid of honour, Avery as the groomsmaid, Jackson as the Best Man and William as the groomsman. At the left side there was Jon as the  Best Man, Maya as the maid of honour, Maps as the groomsmaid and Colin as the groomsman.

Bruce was attending the news and the reporters saying that he was sponsoring his son’s wedding since he was supposed to get married in secret today but it had been canceled due to the aforementioned doomsday of earlier that day. After he finished his speech he went to the first row and sat next in between Talia and Harvey. It is unknown if he survived that.

On the other side there was Iris crying with joy while holding out the video camera as Barry had his arms crossed with a sad expression on his face. Probably meditating on how harsh he had been to Damian where he first met him.’

Soon enough Emiko started to play the wedding march on her violin, followed by Dinah doing acapella, giving the whole place an angelic atmosphere.

Everyone turned around to see Damian walking down the green carpet in the middle of the aisle. He pretended as if he wasn’t wrecking with nerves and tried his best to block down his pores in order to not ruin his one million dollar sherwani. He repeated his vows in his head, praying to the New Gods he wouldn’t mix them up.

Damian arrived at the aisle and smiled at his friends on the left side, and nodded as Roundhouse made hand motions to communicate what would happen to him if he dared to hurt Lace.

The wedding song started again and the public and the people on the end of the aisle all turned around again to look at Lace. 

The speedster’s mind was running at a million miles per hour as he walked probably the slowest he had walked in his life.

He finally made it to the end of the aisle.

“Join hands please,” Djinn said. the men did as they were told while grinning at each other. Even after all these years they got giddy at this motion.

Djinn made a purple circle with magic around their hands, both men felt a sorts of electric current running through their veins.

“I will be casting an eternal bond, a sign to the New Gods that you will be declaring each other soulmates,” she explained. “You shall now pronounce your vows.”

Damian went first:

“Wallace -Lace- I can’t even begin to describe how much you mean to me, ” he said, pressing his fingers against the other man. “I have made many oaths in my life but I’m not lying when I say this is the most important-

“I vow to protect you and care for you, I promise to dedicate the rest of my days devoted to you and to your needs, to love you as hard as I can.”

Wallace had tears in his eyes. He swallowed a little saliva to wet his mouth, trying to ease his nerves.

“Damian,” he pronounced every syllable as something sacred. “I don’t know if I can ever say to you how much you mean to me, but I know that I can try to show you, by small and big gestures because you deserve them, you are worthy of all the love in the world.”

Damian looked down, blushing.

Djinn spoke: “Do you both swear by the New Gods that you’ll stay together for the rest of your life? Bonding your souls to each other for the rest of eternity?”

“We do.” they both said at the same time.

“You may complete the ritual by kissing.” She said.

Wallace speeded two inches in front of Damian and kissed him, and spun him to the side to hold him. The crowd exploded in thunderous applause.  Purple butterflies surrounded them both, they pulled away and looked at each other with misty eyes.

[rocket-roach]

Bruce Wayne has to go undercover working at Bat Burger. He hates his life. He tells no one, but somehow, everyone finds out anyway.

allow me to share some of my experiences working in retail pharmacy through bruce suffering in fast food

word count: 2164

“I’llbe dark for the next few weeks. Do not try to contact or find me. I can’tstress this enough,” Bruce said as he spun in his chain to face his assembledkids. “Gotham is resting on all of your shoulders. I know you can handle it. So,take care of her, okay? I’ll be back whenever the mission is done.”

Dicknibbled on his lip as his eyes flashed to the batsuit encased in glass.

“Do youwant me to go out as Batman?” He asked as his brothers and sisters eyestraveled to the offending case.

“No,”Bruce stood. “That won’t be necessary. We’ve gotten them quiet, and they shouldstay that way for a while. But don’t start any big cases until I get back. Thisis just patrol.”

Jasonpulled a pack of blue Camels out which was quickly followed by his Zippolighter. He lit up, blowing a smoke ring towards the roof of the cave. “What’sthe mission?”

“Stopsmoking in the cave. It upsets the bats. Also, that’s classified.”

“Classifiedfrom family?” Tim asked as he headed towards the fire extinguisher.

“I gethow the Justice League feels now,” Steph added.

“We’llkeep Gotham safe,” Dick said as Tim sprayed Jason with the fire extinguisher.

Withthe arrival of Bruce’s third decade of his vigilante career, he was getting damngood at putting on wigs and applying fake beards. He pulled the carefullyrumpled and wrinkled big box store button up from his suitcase and lookedaround at the crappy bedroom he’d rented in the larger, shittier two bedroomdeep within Gotham. He’d found this place after scouring Craigslist. It was 750square feet, with a gunk covered stove, blackened oven, and dish filled sink.Additionally, the bathroom appeared to have been designed in the 1920’s andthen had never been cleaned. His roommate was one Isaiah Addams.

Arecent grad from Gotham University, Isaiah was a country boy trying to make itbig in the big city. He was working at Big Belly Burger as well as a dive bardown the street. Isaiah was simple, ineffective, and for the sake of this case,an ideal roommate. But Isaiah only knew Bruce as Paul Scott, a down on his luckrecent divorcee who was out a wife, a job, and a house.

“HeyPaul?” Isaiah asked as Bruce finished checking over the resume he printed.

“Yeah?”

“Areyou uh, hungry? My friend Deb recommended this ramen place down the road. Shesaid I needed to try real ramen. I guess Maruchan isn’t the gold standard.”

“Thankyou, but I think I’ll pass. I need to save money until I can find a job.”

“Yourloss, man. By the way, Bat Burger is hiring. They’ll take anyone with a pulse.Have a good night.”

Brucewaved as Isaiah grabbed his keys, and slammed the rickety front door shut.Bruce ran a hand through his hair, letting out a heavy sigh. The apartmentreeked like the backed-up sewer that ran beneath it, and the stench of sewerwater was helping Bruce get further into character.

Thenext day found Bruce sitting in the chaotic closet that was the manager’soffice. Zach was a burly man, nearly too large to fit in the room. With eachmovement, the black swivel chair groaned.

“Yourresume’s impressive,” Zach started. “But you don’t have any food serviceexperience.”

“I’m aquick learner. I have some retail, customer service experience. To be honest,working in food is something I’ve always wanted to try. I’m always on time.”

“Youlive close?”

“Justdown the block.”

Zachsighed as he placed the resume on the television tray that was apparentlyserving as a desk. “Well, jobs yours. You can start today. Janey can starttraining you. You just missed the lunch rush, but by dinner we’ll have youflipping burgers.”

Janeywas a single mom of three, with only a GED and a 1990 silver Toyota Camry toher name. Her teeth were yellow from the cigarettes she’d been smoking sincesixteen and her hair had been permed into oblivion. But she was patient, whichmade his training go exceptionally.

“Alright,so Paul. You’re gonna get complainers. Old people, mainly. They’ll throw a fitif you so much as look at the burger wrong. The easiest thing to do is justredo it. But sometimes, they’ll throw a fit for a voucher. Cashiers can’t give‘em vouchers, and they know that. They’re gonna scream for the manager andZach’s always here. Just get Zach, sweetie. It’s less of a headache.”

Paulnodded, filing all this information away. He looked around at the fewcustomers, each sitting in their own booth, chowing down on the grease filledburgers with relish. Janey carried on through the training, showing him how tooperate the registers, which codes to call when he needed change, or when therewas too much cash in register. Then she moved him back into the kitchen. Oldfridges and even older ovens lined the walls, covered with black grease. He wasafraid to look into the grease traps.

Janeypassed him off to Daniel, the cook for the midshift.

“Youever flip burgers before?”

“No,”he answered honestly.

“Youabout to learn.”

Eventually,Daniel banished Paul from the kitchen. He had burned just one too many burgers,and that was how he found himself standing back at the register next to Jackie.It was five o’clock.

Brucewatched as the parking lot began to fill up with the cars of the people justgetting off work from Gotham’s downtown. Janey took a steadying breath, and thesmell of her most recent cigarette filled Paul’s nostrils.

DickGrayson walked in, his eyes rimmed by dark circles.

“Lemmeget Bat-beef deluxe with cheese and no tomatoes, please, Janey.”

“Surething, hon. You want to Jokerize that?” Janey asked as she typed in the order.

“Pleaseand thank you,” Dick narrowed his eyes as he took in Paul. “Haven’t seen you inhere before.”    

“He’s anew hire. Name’s Paul. Little shy but got a good head on his shoulders. Paul, Iwant you to meet Dick. He’s a cop.”

Dick’seyes were still narrowed.

“Paul,huh?”

“Uh,yes sir. Today’s my first day.”

“Anyoneever tell you, you kind of look like Bruce Wayne?”

 Afterthat, and a few more days of training, Paul offered to take theovernight shift. As he wiped down the tables, counting the customers in therestaurant, the amount of food they’d ordered, he decided that there was no waythis franchise was making enough money to stay open twenty-four hours a day andpay workers and other bills. When he was back in his mold-ridden apartment, headded notes to the ever-growing file he kept stashed underneath his mattress.He dressed in the ill-fitting batsuit and began his trek towards his job.

Theyellow streetlamps were bright enough to see the sidewalk, but not brightenough to illuminate the cracks and uneven slabs. He had a few skinned knees toprove it. But tonight, had been fall free. He stretched his arms above hishead, his neck cracking loudly as Sal, a regular, stomped back up to theregister.

Heslammed a half-eaten Mister Freeze dog onto the counter.

“I onlygot half a dog!”

Brucewatched as the ketchup oozed. “I gave you the full dog you ordered, Sal.”

“Don’t‘Sal’ me, Paul. You only gave me halfa dog. I want my money back. And a voucher. You know what? Get me your manager.I want to talk to Zach.”

“Hewent home for the day.”

“Thencall him! I can wait.”

“It’stwo in the morning. Zach won’t be in till about eight. I can get you Jazz,she’s working now.”

“No. Iwant to speak with the store manager. I want you fired.”

Brucealso wanted to be fired.

“I’llbuy his dog,” a deep voice that Bruce knew very well, cut in. “Sal, do you wantanother Freeze dog?”

“No!”

Redhood turned to face Sal, his hands drifting towards his hip holsters.

“I’mgonna ask one more time.”

 Brucequickly picked up on Janey’s tactic of going outside for a smoke. He didn’t smoke;maintaining his peak physical form and all that, but getting the fresh, sewagescented air of Gotham did help clear his head. Usually. When Jason wasn’tsmoking a cigarette three feet from him.

“Howlong?” Jay asked.

“Howlong what?”

“Don’tplay dumb, old man. I know who you are. Who you really are.”

“I’mPaul,” Bruce wanted to yell at him.

“Okay, Paul,” he said after blowing a smokeright. “Why are you here?”

“I needmoney,” Paul was starting to get a little pissed.

Jasonlaughed as he crushed the butt under his boot. “I need money, too. Yet, Ididn’t realize we were so destitute that you had to pick up a side gig at BigBelly.”

“I haveto go back to work,” Bruce’s face was pinched. If his damn kids didn’t stop,the whole thing would be blown. “Have a good day, sir.”

“’Sir’,” Jason started laughing. “You’re agoddamn hoot, Paul.”

 Paulwas locked into his room, buried in his notes when he heard Isaiah shouting forhim. He ignored him, hoping that Isaiah would shut up and let him work inpeace. It usually worked in the past. Usually. But soon the sounds of a scufflereached his bedroom.

Aheadache bloomed behind his eyes as he heard Tim Drake shouting his way toPaul’s room.

“Listen,kid, I dunno ho yougot in here, but you have to leave!”

“Isaiah,right? I just really need to talk to Bru- Paul. He’s behind��� on his loanpayments.”

“Youlook like you’re twelve!” Isaiah said.

“Internship,”Tim fired back before he jimmied open Paul’s lock.

Paulhad been desperately trying to shove all his papers under the mattress, butthis damn kid was too fast. He darted over, snatching up as many papers as hecould. Bruce lunged for him. Tim dodged.

“Goddamnit!What part of ‘Dark, do not contact me,’was unclear to you all?” Bruce nearly snarled.

“It wasfine until we realized you’re trying to dethrone the Falcones. They knowsomeone is working against them from the inside, Bruce,” Tim waved as hescanned Bruce’s notes. “You’re writing as Paul, not Bruce. There are key factsmissing from this case—”

Brucewalked over to Tim. He grabbed the back of the boy’s shirt, and bodily liftedhim into the air. It was only then that Tim saw the anger bubbling in Bruce’seyes. He’d thought his dad would have been happy to see him after so many weeksgone, but Bruce just tired, frustrated, and bordering on pissed.

“Gohome,” he said lowly. “Tell everybody else this area is off limits. If I see any of you, you’ll all begrounded for the rest of your lives. Clear?”

“Crystal,”Tim gulped, slowly curling into a small ball.

   Paulwas coming up on two months on being undercover. After his conversation withTim, his children’s visits had cut down significantly. But tonight, as he threwthe heavy black trash bags into the dumpster behind the building, he noticedone small shadow that was out of place. He wiped his hands on his pants legs, looking up at his daughter.

“Cass.”

Theshadow disappeared for a moment, then appeared right in front of him. Her darkeyes were staring intensely at him; and with that Bruce realized she was aboutto ream him out. Her hands began flying, and it took every ounce of Bruce’sstrength not to immediately head home and start packing up his stuff.

“Iknow. I’m nearly done.”

“You’relying. To me,” she said.

“I’llkeep trying till you buy it,” He smiled sheepishly.

“Even Icould tell that you were,” Damian’s voice reached him from above.

Brucelooked up, mildly impressed with his youngest’s ability to sneak. He wasgetting better. Glacial blue eyes flickered to Cass, and she was grinningproudly.

“Oh,god. You two have been teaming up,” he groaned. “Fine, two more weeks. I’llhave it all wrapped up.”

It didn’ttake two weeks. It didn’t even take one. The Falcone’s goons blew up hisapartment as he was leaving for work that night. Isaiah, thankfully, had gone outto sing in the subway. Bruce sighed as the flaming remnants of his notesfloated to the ground. He went to work after giving a statement to the policeand ignoring the way Gordon kept staring at him.

The doorcreaked open.

Insidesat Nightwing, Red Hood, Red Robin, Orphan, Robin and Spoiler. Hog tied at theirfeet sat the Falcone family, gagged and growling.

“Paul,”Nightwing smiled. “Did you know you were working for the most notorious crimefamily in Gotham?”

[aion-rsa]

How Batman Evolved During Tom King's Run

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Bruce Wayne's adoptive father is the key to Tom King's conclusion to his run on Batman.

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This Batman article contains spoilers. 

Tom King did the impossible. In a comics industry founded on the bedrock principle that only the appearance of growth should ever be shown, he’s told a massive, three-year, 85-issue story that has Bruce Wayne actually develop as a character.

With Alfred’s death earlier in the final story arc, "City of Bane," many would have expected Bruce to shun his supporting cast and dedicate himself to revenge, leaving Gotham littered with shattered criminals as he pushed his grief through his fists and his enemies’ faces. But that’s not what happened. 

We got a chance to talk with King about character growth, how his epic tale developed, and what’s next for Batman, Catwoman, and King himself in the DCU. 

Den of Geek: You talk about Vision, Omega Men, and Sheriff of Babylon being a thematic trilogy, right?

Tom King: Yeah.

Can we look at Mister Miracle, Heroes in Crisis, and Batman the same way?

Oh yeah, 100% yeah. That's what I think of it. Yeah. I'm glad someone noticed.

It's about heroes managing trauma, right?

It is. I call it the Trauma Trilogy. That's just too easy, maybe. I feel like the first story about my war experience and [the main characters of each book] were all someone naively going into a situation and finding it much more complicated than they thought. And then these three were all about, I’ve said this publicly a billion times, about this nervous first-season-of-the-Sopranos breakdown I had in 2016 when I first started on Batman, and sort of how I recovered from that. And I sort of wrote it three different ways. Yeah, it's like some fancy dish, you know. The Trauma Trilogy.

Read More: How Batman Will Change in 2020

So the breakdown in 2016 happened after you had already started on Batman. How far is what ended up on the page drifted from what you initially conceived it to be?

I mean it's pretty close. There's some stuff that didn't quite pan out. Batman isn’t like a series like Mister Miracle or our upcoming Strange Adventures that we're doing. You have to write Batman with some degree of compromise because it's a much bigger platform and overlaps a lot of other books. You have a lot more eyes on it in terms of editorial control. And so yeah, it wasn't entirely a straight line, but considering it was 85 issues of DC's best-selling comic, I think it was a lot straighter than I thought it would be in terms of going from one spot to another.

It was always supposed to be about a love story and that was there from day one. I remember talking about that with my first editor, Mark Doyle...being like, “What is this book about?” And me literally just searching and searching until I found an old clip of the Batman ‘66 TV show. It was just like, “Oh man, I love this." The Catwoman, Batman dynamic.

And it hadn't been in the books in a long time. Not since, like, Judd Winnick, New 52 stuff. So that part about it, the fact that it was just one big love story. That was the same and Bane was supposed to be the main bad guy. But the stuff with Flashpoint, Batman evolved as we went along. I'd say that's the thing that's evolved the most.

We talked that second arc, I think, about Bane, Catwoman, and Batman being three sides of the same shitty coin. But now with Thomas included in there, it feels like it's kind of four points on a graph, labeling each axis. You've got like Batman who had privilege but lost everything at a young age. You have Thomas on the other end who had everything for most of his life and then lost everything. You've got Catwoman, who was born into nothing and kind of hangs on to everything but keeps it at arms length. And you've got Bane, who kind of grabs whatever he can and crushes it to death. As Thomas evolved into this, does that sound like what you were thinking at all?

Yeah, I do think they all represent this idea of who's top of the mountain in their own way. I guess you could say who does Gotham belong to? Bane sees Gotham as a prize that he has to win. Thomas sees Gotham as a burden. For Catwoman, Gotham is just who she is and she's sort of queen of that city. And then for Batman, it's ... I mean that's what the whole question is. What does he mean to Gotham? 

With Alfred's death, was it kind of a backdoor way of you taking a look at Bruce's origins? You know, using the death of a father figure to kind of shock him out of being Batman the way that he was shocked into being Batman?

Yeah, but it was also a way to show what the difference is between Bruce losing his parents when he was young and connected to them, and Bruce losing Alfred having been raised by Alfred. To me that was a tribute to sort of Alfred's parentage of Bruce for all these years and him guiding him through that trauma. Because you expect Batman in that moment to bury himself in anger and go insane and do all the things that drove him to be Batman in the first place. But instead of that, he hears Alfred's voice and he composes himself. To me it's sort of about the maturing of the character and maturing of it through the love of Alfred. I know I said this in the book, there are no good deaths. There's a nobility to death if you've treated your children right.

Read More: Batman and Catwoman Face Thomas Wayne in Final Tom King Issue

Well, I would quibble with that only because I think you could have killed Batman at any point in the last 85 issues and whatever was happening would have been a hell of a way to go. Right? Like he has a heart attack on a ferris wheel with Superman. That's a pretty okay way to do it. 

Wait I did kill Batman! I killed him in annual number two.

Oh yeah! Yeah.

I gave him my ideal death. He dies instead as an old man surrounded by his family.

And that's the good death.

That's a good one. That's as best as you can do with no other choices.

After 85, it feels like that's kind of the direction, right? Batman for so long has been that traumatized little boy, to the point where it's almost a parody, and many of your predecessors have done something interesting with that. But it always feels like the traumatized little boy has been the dominant perception of him, at least in my adult life. Is this your way of kind of trying to push him through it? 

The story of Batman is unending conflict. I'm sure whoever comes after me will embrace the Batman of their own and I bless him for doing it. I know James [Tynion IV, the writer taking over Batman with #86]’s stuff is going to be, from what I've seen, amazing. Batman's not a story that I have the power to end. I just kind of come in and take the reins for a while and then pass it onto someone else as brilliant as James and Tony [Daniel, the artist on the first arc].

But I can sort of, I don't know, tell my story. I don’t know, maybe I'm too old to write Batman. Frank was 29 when he wrote The Dark Knight Returns. I'm 41. But it seems like as you get older and you actually see your parents pass, you see your loved ones pass, you realize that everyone has to go through that trauma. Right? You sort of realize that it can become part of you and something you're proud of as well. The grief never leaves you. It never leaves Batman. It's a wonderful metaphor. But also there's a certain joy to that grief because it sort of unites you with your lost ones.

So hopefully, as you go on, you sort of mature into that. I hate to say that the greatest hero America's ever created, which is Batman, never got a chance to mature into it like the rest of us hopefully get to do. Yeah, I mean that's what that's about. He says, when I was a child, I did childish things and now it's time to grow up a little bit.

Read More: Why Tom King Is Leaving Batman

So the action sequences have been phenomenal through the whole thing. There have been some stellar fight sequences, especially Jorge [Fornes'] last ten issues. Every time he comes in it's incredible.

He’s ridiculous.

They've been phenomenal. When I think back on the run, what I think is going to jump out at me are going to be the quiet moments. The double date, 12 Angry Batmen, Bruce and Selina grabbing a beer and watching football at a bar. What do you think was about those quiet moments that let you make them sing?

I mean, the first thing is the art. All three of those things you mentioned, you've got Lee Weeks...there's not a lot of people who can draw a dynamic room with just 12 people talking. Clay Mann doing the double date. Just him elevating himself and becoming the best artist in comics while I was watching. And then Mikel [Janin]. I've been with Mikel for five years now since Grayson. He did the first Batman I did and he’s doing the last.

It's really hard. I mean, as dumb as it sounds, it's probably easier to draw a dynamic fight scene than a dynamic quiet scene. So those guys are doing the heavy lifting.

As far as the other stuff goes. You know, it's ... DC Fontana died yesterday, right? The Star Trek author, and she's famous for saying, “Star Trek is not about objects. It's about characters.” Like, that's her thing. If you're writing an episode of Star Trek, don't make it about the thing. Make it about the people's relationships. So I think that that's what those moments are about is we've had a lot of conflicts. Fantastic, amazing conflicts about things. But I try to make my conflicts about the characters. Just trying to follow what she told me to do. What she said. Not that I ever met her but I remember what she said to do.

So looking back, is there an issue that stands out in your mind as something that you just absolutely nailed? Like, it's the Batman/Elmer Fudd issue, right?

No, I hate it. [laughs] I love that issue, but there's two typos in it. It still drives me crazy. I'll never manage to get them to fix those. When I first got the comp finished, I threw in the trash I was so pissed. "Oh, I ruined this one. Oh well. I'll try again next time." And then I won awards for it, it was ridiculous.

All three of the annuals I really like. I like the dog story that David Finch and I did in the first annual, which was suggested by my daughter when she was like five. 

And I liked the second annual, which has sort of the first dates and the beginning of the end of the Catwoman/Batman relationship. That annual's the jumping off point for the whole Batman/Catwoman series. So that's how much I like it, I'm trying to copy it. 

And I like the fourth annual I did with Jorge, which was just sort of like a chance for me to do a thesis statement on what Batman is. And there was seven days of Batman in seven different genres and then it continued sort of forever. I like those three.

Read More: Why Tom King's Batman #86-106 Would Have Been About

Similarly, is there an issue that you wish you could get another crack at?

Oh man, there's a ton of issues I wish I could ... I mean, I look at the dialogue and I’m like, "Oh, I could have done that better." 

It took me a while to learn how to work with Joelle Jones, who's one of the most talented artists out there right now. And I think, I feel like I did a Wonder Woman issue with her and I feel like I wasted two of them first of all, because the story I wrote turned out to be very similar to a story that Joe Kelly had done. I hadn't read the story but I was very...I would have changed it if I had known. I sort of understood how to write for [Joelle] by Batman #44, which I think is really nice, but I think it's 39 and 40, the two Joelle Jones issues, I wish I could have another shot at doing well.

I really liked those.

TK: They're beautiful! They're drawn beautifully, but I don't know, we could have done something...it was really fine, but I feel like it could have transcended. I missed it.

I guess. The Justice League flirting between the two of them in the cartoon is high on my list of preferred pairings. So like the way that you played with that made me happy. Is there a character you feel particular ownership of now? Like if somebody comes in and changes Kite Man, are you going to throw the issue across the room and scream, "Fuck no, that's not how this is supposed to be done."

No, I think that's kind of silly. It's kind of like when you sign up for this gig, that's part of the agreement and coming into comics is realizing that this is a medium that extends to other people and no one has benefited more from that than me, who's twisted the work of Jack Kirby and Marv Wolfman and Bob Kane and Bill Finger for my own benefits. I feel like denying that to others would be hypocritical. 

Gotham Girl's named after my daughter Claire. Claire Clover is her name. So I do like her. Like I have in my daughter's room a David Finch piece or a page that he did and a page that Clay Mann did they gave to me for her. So I like her because she's named after my daughter.

Wow. That's got to be pretty sweet.

I know. I try to tell her brag, brag to your friends! But does she brag?

Read More: Why Batman Still Matters

She'll get there. As soon as she shows up in a movie, everyone's going to be like, "Oh, you're so cool." Would you do it again? Marvel comes to you tomorrow and says, “We want a hundred issues of Spider-Man. Do whatever the hell you want.” Do you jump at or do you run screaming?

I don't remember anyone ever saying, do whatever you want with Batman.

Well, fair.

It never happened. Would I do it again? I mean I have no regrets about doing it. On many levels, I feel like I'm artistically satisfied with what happened. I feel like I made my career and made my life and I had fun. 

But it's that second thing you said, the control of it. As I move forward, I kind of want to do, I don't know, like, I want to do super ambitious stuff and it's hard to do super ambitious stuff in that environment.

I feel like I got as close as I could get with [Batman]. I had a brilliant editor in Jamie Rich, huge support from Dan DiDio, but I don't know if I'll ever get that much again. Going forward, we'll see. But I just want to do something, I don't know, big and ambitious and literary and I don't know if that's possible anymore. If it is, I'll go.

You did the Sheriff and Omega Men and Vision Trilogy. You did the Heroes in Crisis Trilogy, or the Trauma Trilogy. Where are we going next?

Yeah, something new. I'm trying to move on. I'm trying to move on from fat middle aged men looking out windows, thinking about their lives. I think it'll be like another trilogy of books. It will be Strange Adventures, [Batman/Catwoman], and another book that hasn't been announced yet.

And all of this will be these 12-issue miniseries, like these little novels and they'll all be focused on a new, bigger theme. The way things develop when you're writing, you can write it one way where you're like, "I'm going to write about this theme," then you go write it. But when I do that, it just turns out shitty.

The best way I think to do it is just to write straight through so your unconscious mind brings it to the surface while you fight doing the same thing over and over again. So I'm not 100 percent sure these things are still forming as they form, but it's going to be a lot about all the shit that's in the news every single day. 

As much as Mister Miracle was about sort of the trauma of looking around our current environment, thinking, "My God, this can't be real. I feel like I'm trapped here," Strange Adventures will be about how do we fight back this pernicious stuff that seems to surround us. And I think that's what Batman/Catwoman will sort of be about too.

Read More: The Actors Who Have Played Batman

So hopeful.

Hopeful is the wrong word because some of them are dead dark books. I don't feel hopeful right now. But I feel like, I don't know, it feels like we're in the middle of the war and you don't feel hopeful in the middle of the war, but you still feel like you'd have to fight. You know?

Yeah.

It's more about that feeling, not the feeling that, "Oh God, we're going to win." But the feeling of, "Oh God, we can't lose or else."

And Strange Adventures, I've read the first one and it's ... I couldn't love it more. It's 28 pages. Doc [Shaner] and Mitch [Gerads] are doing crazy new stuff you haven't seen in comics before, which I think is cool in terms of mixing the two arts together. The two, I don't know, styles or whatever.

I couldn't be more proud of it. I remember Garth Ennis famously saying that with The Boys, you out-Preacher Preacher. So we're going to try to out-Mister Miracle Mister Miracle, to steal from Garth.

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Feature Jim Dandy

Dec 18, 2019

DC Entertainment

Tom King

Batman

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[yasbxxgie]

‘Watchmen’ Recap: The Greatest American Hero In a staggering episode that upends the ‘Watchmen’ universe — and the wider world of superhero lore — Hooded Justice is unmasked

A review of this week’s Watchmen, “This Exceptional Being,” coming up just as soon as I read Action Comics #1 for the first time…

Many of the most distinct and beloved American art forms were invented by black artists who were then quickly eclipsed in the public imagination by their white imitators. Elvis Presley borrowed liberally from Chuck Berry and Fats Domino, among many others. When they were starting out, white rappers like the Beastie Boys and Eminem often found it easier to get radio play than more established black hip-hop veterans. A large chunk of Quentin Tarantino’s Oscar-winning aesthetic was modeled on blaxploitation films whose own directors of color didn’t get nearly the same level of acclaim.

If cultural appropriation is woven into the fabric of American music, movies, and life, why not superheroics? What if the first costumed hero of them all was an African American man who inspired a wave of white heroes? What if that hero had to hide his true identity not for all the corny comic-book reasons about protecting his loved ones, but because he knew the color of his skin would get him lynched for daring to put himself above the law?

That Hooded Justice, the O.G. costumed vigilante of the Watchmen universe, was secretly black — was, in fact, Angela’s grandfather, Will Reeves — is the big idea at the center of this episode, and of the series as a whole. When I interviewed Damon Lindelof (who co-wrote “This Exceptional Being” with Cord Jefferson) before the show premiered, he alluded to “the idea that made me want to do this take on Watchmen” as one coming up later in the season. And now it’s here. And it is, well, exceptional.

It takes a while to get to this huge revelation, which is at the heart of a trippy, time- and mind-bending episode that evokes The Leftovers‘ “International Assassin,” Lost‘s “The Constant,” and various other sci-fi drama classic installments (say, “The Inner Light” from Star Trek: The Next Generation) where the hero finds him or herself in a place, time, and sometimes body where they do not belong.

By swallowing Will’s entire stash of Nostalgia pills, Angela’s mind is cast back to the start of his police career in 1939, and to the events that inspired him to become Hooded Justice. At first, it seems we’ll be getting a Quantum Leap-style trip through time, where the other characters see Will Reeves while we in the audience see Angela wearing his clothes and living his life. Quickly, though, the image of her is replaced by the genuine article, played as a young man by Jovan Adepo(*). Angela briefly reappears at crucial, pointed intervals — say, when Will insists that he isn’t having problems with his memory — but for the most part, we are immersed in his world just as much as she is.

(*) On The Leftovers, Adepo played Regina King’s son. Here, he’s her grandfather. Between Jack Ryan, Sorry For Your Loss, and this, he’s among the busier actors on television this fall, but I look forward to another family reunion with King down the road.

Even before Angela’s mind slides back 80 years into the past, we are being primed for the reveal. The episode opens not with the familiar Watchmen logo, but with the same font (now in purple) spelling out Minutemen, before we dive into the latest installment of show-within-the-show American Hero Story. As two FBI agents grill Hooded Justice — played, of course, by a white actor (30 Rock‘s Cheyenne Jackson), because how could the American Hero Story producers even imagine otherwise? — about his affair with Captain Metropolis, my eyes kept being drawn to his costume. I’ve read the Watchmen comic at least a dozen times over the last three and a half decades, yet it felt like this was the first time I was really looking at Hooded Justice’s outfit. The name, the noose around the neck, and the hood to me had always evoked a royal executioner — a man who conceals his face as part of the process of meting out rough justice. Seeing it in the context of a series whose first episode opened with Klansmen slaughtering black people and ended with Judd Crawford dangling from a mighty oak tree, all I could now think of was Klan hoods and lynching. Was Hooded Justice, I wondered, just another closet white supremacist?

Following the American Hero Story clip, Laurie tries to warn Angela about what the Nostalgia will do to her — how, to borrow Lindelof’s own words in our aforementioned interview, nostalgia is literally toxic. The product was developed to help Alzheimer’s patients, but quickly found a more illicit market, because, as Laurie puts it, “Who wants to live in the present when you can be in the past?” Later, the young Will tells his girlfriend June (Danielle Deadwyler) — who is a reporter, because of course a superhero has to have a reporter girlfriend — that he has moved past the horrific events that killed both of their families. “That was a long time ago,” he insists. “I don’t want to live in the past.”

Living in the past is dangerous, Watchmen argues again and again, in part because the past is never quite what we remember it as. White supremacists, whether they’re wearing Klan robes or MAGA hats, want to take us back to a version of America that never really existed — or at least never existed that way for everyone. In the case of “This Exceptional Being,” though, the past is inverted in a different way. Racism is still rampant, especially in the corridors of power — the commissioner of the NYPD won’t even stop to look at Will at the graduation ceremony, much less shake his hand — but the episode tells the story of a black man who seized power for himself in this difficult time, and who motivated a host of white people to follow his example, even if they had no idea who was really leading the way.

Remember what Laurie said back in the third episode about heroes’ masked identities being shaped by childhood trauma? The last good memory of Will Reeves’ childhood before his world was destroyed — with the parallel to Superman and Krypton made clearer than ever when a news vendor shows Will a copy of Action Comics #1 — was of him watching Trust in the Law. He has modeled his whole life on Bass Reeves — taken on his name, even — become a cop because that’s what the real Reeves did. But while Reeves is still a U.S. Marshal in the film, he also wears a hood to conceal his identity(*).

(*) This was something the real-life Reeves did sometimes to maintain a low profile in a territory where a black lawman would attract too much attention — much of it dangerous attention. As we’ve discussed, his story was appropriated too, as he became the white Lone Ranger, whose own (very Captain Metropolis-esque) mask is less essential to protecting his life.

So when Will’s white colleagues conduct a near-fatal lynching to discourage him from looking into the activities of their secret racist organization, Cyclops, Will staggers away with the noose still around his neck and the hood they’d slipped over him in his hands. He impulsively puts it back on to conceal his identity while rescuing a white couple from a mugging(*). But in the aftermath of that event, he and June realize that he can reclaim the hood and the noose, using them against their persecutors in a manner not that far removed from the way oppressed minority groups turn slurs against them into slogans of pride. To make it work, though, June argues, Will has to conceal not just his face, but his entire racial identity, using makeup to lighten the skin around his eyes (the only part of him visible under the mask and elaborate head-to-toe costume they cook up).

(*) It’s not quite saving Bruce Wayne’s parents from being murdered (this couple doesn’t have a kid with them, and there’s more than one attacker), but the scene is evocative enough to dovetail nicely with the early Superman discussion.

It’s an inspired choice — by June and by the series. The makeup (which looks convincing enough in the episode’s black-and-white photography) allows the TV show to remain largely faithful to the comic, which kept Hooded Justice’s true identity a mystery. Who’s to say he wasn’t a black man who held himself apart from the rest of the Minutemen (other than their leader, that is) because he was afraid of having his race exposed to the world? And the makeup creates the appearance of an inversion of the Lone Ranger’s mask — and, for that matter, of the very dark makeup that Angela puts around her own eyes when she’s operating as Sister Night. Grandfather and granddaughter are both cops who dress up on the side, but under very different circumstances. He’s operating wholly outside the law, while she is mostly trying to operate within it. He has to keep his race hidden; she wears hers proudly, in open defiance of the Seventh Kavalry.

But whatever the reason and the context, Watchmen — both comic and TV series — repeatedly insists that wearing a mask is as unhealthy as nostalgia. Will wears his as a way to channel his rage at a racist world — and perhaps at the world that forces him to keep his sexuality as secret as his skin color — but over time, it only makes him angrier. Nelson Gardner wears the Captain Metropolis mask less out of a desire to battle injustice than a more adolescent wish for adventure, mixed in with it being a kink. (Like Agent Petey, he likes to wear it in bed.) The episode doesn’t even get into the pathologies of the other Minutemen — they’re blurs in the background of the group photo we see being taken — but we know that Laurie’s father was an attempted rapist. The longer that Will wears his interlocking masks (the hood and the makeup), and the clearer it becomes that his lover Nelson won’t do anything to help fight Cyclops, the more the fires of his rage are stoked. After discovering that Cyclops is using subliminal images and other forms of mesmerism to trick black people into hurting themselves, he decides to attack the group’s headquarters on his own, wearing both his NYPD uniform and his superhero hood. Like his granddaughter, he is playing cop and vigilante at the same time, and it has long since ceased to be fun and games (if it ever was for him). He’s just shooting racists in the head, and then, once the bullets in his service revolver run out, strangling the last one and lighting all the bodies on fire.

Even that action doesn’t burn the rage from his soul, and instead he winds up taking it out on his poor son (Angela’s father), whom he finds putting on the white makeup — a little boy just trying to imitate the dad he loves and respects so much. He chases his wife and son away in the process, and while there was little healthy about the relationship — which began with Will literally caring for June when she was the crying baby in the field outside Tulsa — it leaves Will once again alone, unable to get back to the only family he knows. From here, the Nostalgia trip leaps ahead to 2019, so that Angela can witness the murder of Judd — who hangs himself, with some coaxing from the Cyclops device that Will hung onto — which means we don’t know what he’s been doing over the decades in between. But based on the look on his face as he clutches that old noose to his midsection while waiting for Judd, it doesn’t seem to have been a happy life for him. After the unexplained glimpse of an old woman promising to take someone — Will? Angela? — home with her, Angela finally wakes up as herself in one of Lady Trieu’s labs, perhaps not far away from the man whose life she just got to know with great, horrifying intimacy.

Thematically, it’s easy to understand why Lindelof was so excited by the idea of the first superhero being black. It recontextualizes a lot of what’s in the comic book without unfairly altering any of it, and it ties in beautifully to the ideas percolating in the show’s vision of 2019 America. Given that Hooded Justice’s sexuality is now public knowledge, 7K probably doesn’t have much use for him as an icon; their own inspiration, Rorschach, was an avowed homophobe. But it would still probably rock their worldview to find out that it was a black man who inspired Rorschach, and, by proxy, them to don masks in pursuit of their own interpretation of the law(*). They’re concealing their identities in indirect tribute to him, even as they’re continuing the vile traditions of all the people Hooded Justice put on his own masks to fight. It transforms everything we’ve seen (and, for some of us, read) before in this world, and unlocks a deeper meaning to the whole series. Now it’s not just incidental that there’s a superhero race war in the show’s 2019; it’s history painfully repeating itself again and again, just as it has in our America.

(*) Or maybe they’d just compartmentalize? The whole thing conjures up memories of that great scene in Do the Right Thing where Mookie points out to his racist coworker Pino that all of Pino’s favorite celebrities are black, forcing Pino to contort himself to explain why Magic Johnson, Eddie Murphy, and Prince are “more than black.”  Never underestimate human beings’ capacity for cognitive dissonance.

Beyond a thematic stroke of brilliance, the episode — directed by Lost and Leftovers vet Stephen Williams — is a technical marvel. The black-and-white photography (by Greg Middleton) and big band soundtrack neatly take us back to the late Thirties, even as other production choices keep reminding us that this is a memory and not a time machine. As a tribute to Steven Spielberg’s use of the girl in the red coat in Schindler’s List Pale Horse, there are occasional splashes of color, particularly whenever Will’s mother is seen playing the movie theater piano. Certain aspects of the production design, like the precinct doors, are presented as completely false stage sets, as further evidence of the artificiality of Angela’s presence here. When June asks Will to again tell her the plot of Trust in the Law, the movie irises open on the wall behind them. The transitions between Adepo and King appear seamless, I’m told, because they were: As the camera spun around the other actor in those scenes, Adepo quickly stepped out and King in (or vice versa). It’s a special effects technique almost as old as Trust in the Law. And though she’s not in the episode a lot, Regina King does amazing physical work at evoking both Adepo and then Lou Gossett Jr. in the scene with Judd; the way her posture mimics Gossett’s in the wheelchair left my jaw on the floor.

The edits feel more purposeful — like the cut from June (who appears to have some suspicions about her man’s sexuality) telling Will “No!” about joining the Minutemen, followed immediately by Nelson screaming “YES!” while in bed with Will — as does the absence of them in certain spots. The fight in the American Hero Story clip again looks like a Zack Snyder parody, but most of the real Hooded Justice fight scenes are presented as continuous takes, with Will a relentless whirling dervish who nonetheless does only things within the realm of what’s physically possible for an ordinary (if very strong and angry) man. We get an inversion of the American Hero Story clip from episode two, where instead of Hooded Justice crashing into a store to save the shopkeeper from some dastardly robbers, he is instead leaping out of the window because the shopkeeper himself is the criminal. (It’s only as he smashes through the glass that the Snyder/bullet-time effects come back, but as a way to illustrate Laurie and Cal’s failed attempt to pull Angela out of this dangerous trip.)

Even for a series that is already a huge departure from the source material, “This Exceptional Being” is an enormous gamble. It barely features any of the regular cast. It largely makes do without that hypnotic Reznor/Ross score (which comes roaring back as old man Will prepares to deal with Judd), and is told in a completely different visual language from the previous five chapters. And it completely recontextualizes all that’s happened before.

But it’s a gamble that pays off spectacularly, in one of the best hours of television that Damon Lindelof’s ever been involved in. When you consider the peaks of Lost and The Leftovers, that is a very exceptional being, indeed.

Some other thoughts, several of them comic book-related:

* With most of the regular cast on the bench or limited to cameos, we got a bunch of familiar guest stars besides Jackson as the TV version of Hooded Justice, including ER alum Erik Palladino as one of the two homophobic FBI agents from the American Hero Story scene, TV’s Jake McDorman (recently seen as Murphy Brown’s son in the short-lived revival) as Captain Metropolis, and ubiquitous HBO player Glenn Fleshler (Boardwalk Empire, True Detective, Barry) as Fred the racist shopkeeper.

* A Veidt interlude would have felt even more out of place here than it did in last week’s Looking Glass spotlight, where at least he was connected to the plot down on Earth. So we don’t bother going to Europa at all. But Will arranging the Cyclops corpses in a tableau before lighting them on fire very much evokes what Veidt did last week with all the clones — which in turn was was an homage to the scene in the pirate comic within the original comic, where the hero has to build a raft out of the bodies of his dead comrades. (Like Veidt, he chose to use corpses to escape exile.)

* The episode’s title comes from a line in Under the Hood, the memoir of the original Nite Owl, Hollis Mason, that ran as bonus material at the end of the comic book’s first few issues. It’s part of Mason’s description of Hooded Justice, who inspired Mason — himself a member of the NYPD — to put on tights and a mask. Mason is interesting as an outlier to the psychological dysfunction of almost every other costumed character in the comic (and now in the show). He’s just a well-adjusted, morally upright guy who adopts a costumed identity because he sees how effective Hooded Justice is and wants to help people in the same way.

* That group photo, by the way? It’s one of the more famous images from the comic, where both Mason and Laurie’s mother Sally have framed copies in their homes. (And it literally accompanies the Snyder film’s title.) It’s also an important plot point, because Edward Blake’s attempted rape of Sally happens a few minutes after the photo is taken.

* Beyond largely sidelining the usual synth pieces of Reznor and Ross’ score, the episode’s soundtrack naturally leans on vintage songs, even if some of them are anachronistic. The Eartha Kitt cover of “Smoke Gets In Your Eyes” that plays over Will’s assault on the warehouse, for instance, was recorded in 1952 — in the same session where she sang the version of “Santa Baby” that played during the White Night flashback from Episode Two, further linking Will to Angela. (And linking both of them to one of the performers who famously played Catwoman.) There’s also an original song, “Used to Be,” with music and lyrics by Reznor and Ross, that plays as the cops abduct Will and hang him from the tree, and reprises as the older Will makes Judd hang himself.

* Finally, this isn’t exactly Watchmen-related, but Hooded Justice’s new origin story reminded me of perhaps my favorite DC Comic since Watchmen came out: New Frontier, written and drawn by the late, great Darwyn Cooke. Set mostly in the 1950s as Green Lantern, Flash, Martian Manhunter, and more battle the paranoia of the era as much as they do aliens and supervillains, the miniseries also includes a new hero named John Henry. Inspired by the steel-driving African American folk hero of the same name, both his origin and his costume have several things in common with Hooded Justice. This is a coincidence — Lindelof had never heard of New Frontier until I mentioned it to him — but anyone who liked this episode might want to give it a read.

[thepermanentrainpress]

REVIEW: FAN EXPO VANCOUVER AT THE VANCOUVER CONVENTION CENTRE - MARCH 2ND TO 3RD, 2019

The first panel on Saturday was Mehcad Brooks, currently known for his work as James Olsen/Guardian in CW’s Supergirl. He had an inspiring panel, touching on race and gender, social media ‘keyboard warriors’ who attempt to put others down, music (his stage name is King Gvpsv), and doing things one is passionate about. He discussed how DC Comics’ Jimmy Olsen was historically Caucasian, and how proud he was to be apart of creating diversity, portraying a black male version on the show. In fact, one superhero he would love to play is Bruce Wayne/Batman. That being said, he noted the importance of “creating your own superheroes” if you’re passionate about creativity, whether that be starting from the drawing board or adding attributes to those already brought to life – Mehcad is currently developing a superhero of his own, with a graphic novel to stay tuned for.

The one statement he said that stuck with me was, “perfectionism is the highest form of procrastination.” As an artist, it’s the best excuse not to do anything, and he uses that to fuel his spiritual journey as a creator and human being. I was really impressed with his connection to the audience in his words, and look forward to seeing his projects as they continue to unfold.

I caught a brief portion of George Takei’s self-moderated panel, hearing him take the stage with an emphatic “Oh Myyy” (to the delight of audience members)! He recognized the original Star Trek fans, and the new generation that keeps the franchise alive and thriving, noting the success of CBS’ Star Trek: Discovery. He recognized the importance of keeping ideals in mind (“in an insane reality” as the current situation in the US). A fan asked his opinion if achieving a utopia in the real world was a possibility, to which Takei replied no, but it is “still a dream that we should aspire to reach.” Takei is currently in Vancouver filming AMC’s The Terror, set in a Japanese internment camp during WWII.

The Flash panel was wild, this cast knows how to have fun. Featuring Tom Cavanagh, Robbie Amell, Carlos Valdes, Danielle Nicolet and Hartley Sawyer, the panel had mini donuts a plenty (they asked, and devoted fans delivered, not once but multiple times throughout their time on stage)! They talked briefly about the upcoming episode set to feature King Shark vs. Gorilla Grodd, and the large budget they had for its special effects. Danielle addressed the absence of Joe West this season (cast member Jesse L. Martin took a medical leave after suffering a back injury this past summer), but said he would be back on-screen soon. Amell, who no longer appears as Ronnie Raymond/Firestorm, is currently working on Amazon’s Upload, with sci-fi/action film Code 8 having premieres across the globe beginning in April. Cavanagh joked about Amell moving on from The Flash to “more expensive projects” and “greener pastures,” and this continued to be a running joke throughout the panel. New additions Nicolet and Sawyer were praised, for their work ethic and what they brought to their characters DA Cecile Horton and Ralph Dibny/Elongated Man.

During fan question period, Amell was asked about the crowdfunded Code 8 and working with cousin and Arrow star Stephen Amell (who he insisted was pronounced “steph-in” rather than “steve-in”). The pair always hoped to collaborate after having brief interactions in a past Arrowverse crossover, and were happy to do so with the sci-fi flick filmed in Toronto in 2017. There were also plugs for the Tom Cavanagh directed heist short Tom and Grant, which is now available for streaming on Vimeo. One of Cavanagh’s favourite and most challenging scenes, was when Reverse Flash killed Cisco Ramon (Valdes’ character) in Season 1’s “Out of Time.” One daring fan asked Valdes if there was truth to the rumours he’d be leaving the show after Season 5. He stayed mum, answering with an appropriate “I have a donut in my mouth.” It was a nice attempt. Nicolet and Valdes only had kind words to say about co-star Danielle Panabaker’s directing debut in episode 18, shot in February, describing her as a “boss lady” and “in control.” It was a fun panel, and you can see the family atmosphere created on-set translates similarly to their interactions with one another off-set.

During breaks in between panels, I had an opportunity to roam around the floor, to get a glimpse of the vast number of retailers, artists, and cosplayers on-hand for the event. I purchased a few postcards from illustrators Jenny Hsieh and chanteii – they have incredibly adorable artwork of shiba inus and cats, respectively. I also had to buy a couple of stickers from PIKARAR, because of my love for animals, naturally. There were booths with Funko pops, wigs, pins, medieval swords and armour, unique jewelry, kimonos, tees, fan art, boxes chalk full of comic books, and other pop culture memorabilia. It was overwhelming (in a good way)!

We stopped by the booth advertising locally filmed web series Followers: “An Internet Superhero Story.” The plot line is “a group of superheroes inspired by social media must collaborate together to take down Hater, who threatens to destroy the internet.” The trailer looked amusing with their special effects and action sequences, DIY costumes, and I look forward to checking out more of the episodes online!

On the cosplay side, I’m not too knowledgeable on anime/pop culture characters (I’ll be the first to admit this!) but there were many amazing costumes. I saw a Spider-Gwen posing for pictures with young girls, Iron Man, Deadpool, Harley Quinn, Disney princesses, and characters I was told were from popular video games League of Legends and Overwatch.

On Sunday, I sat in on some of Pamela Anderson’s panel. Anderson is known for her modelling and acting work in Baywatch and Home Improvement, but currently uses her platform to do activist work for animal rights, our environment, and climate change. I heard her response to a fan’s question: “everything you do has a repercussion” and the importance of enjoying experiences over consumption. The Pamela Anderson Foundation supports “organizations and individuals that stand on the front lines in the protection of human, animal, and environmental rights.” It is nice to see Anderson (who was born in Ladysmith, BC) be passionate about these global issues, and encouraging listeners to do the same in their everyday life.

My final full panel of the day was the Arrow and Legends of Tomorrow talk with Juliana Harkavy, Brandon Routh, and Courtney Ford. This was largely a fan Q&A panel, with one fan dressed as Roy Harper/Arsenal informing the cast how their characters have provided happiness and strength in darker personal times. It was a touching moment, and you could see the actors’ expressions shift, truly listening to each of the fan questions with understanding and empathy. Harkavy said her favourite part about playing Black Canary was meeting fans, while Routh expressed some disappointment in the Legends being left out of this past season’s ‘Elseworlds’ crossover event, but hoped they might make an appearance in the already announced ‘Crisis on Infinite Earths.’

They admitted that they don’t socially interact much with cast members of their fellow CW shows other than at conventions and dinners to celebrate season kickoffs (on-location filming, studios not being on the same lot), but it’s always fun when they do meet-up to catch up. Routh said that while he loves playing Ray Palmer/Atom on LOT, his role as Superman in Bryan Singer’s 2006 film Superman Returns is his favourite role to-date because of its significance in his career (as his first leading role). All three prepared for their current roles using comic books as guidance, imagery and past iterations of their characters.

We had a wonderful time at FAN EXPO Vancouver, being surrounded by like minded others with an excitement and passion for the arts, cosplay, comics, film and television. Our team also had an opportunity to interview Gotham’s David Mazouz, a stellar actor who shone as a young Bruce Wayne and who’s using his platform to shed light on animal rescue and advocacy, and creating positive change as young adults. The interview will be posted soon! Until then, we can’t wait until FAN EXPO’s return to our city next year.

Written by: Chloe Hoy Photo credit to: Timothy Nguyen

[avaritia-apotheosis]

Phantom Children Ch. 3

In which: Danny getting yeeted into the Lazarus Pit yields anticlimactic consequences and Bruce Wayne converses with a fruit loop.

AO3 | Prologue | 2 | [ 3 ] | 4 |

DANIEL BARELY HAD TIME TO SCREAM before he’s plunged into the green depths of the Lazarus pit, primeval waves crashing against the walls of the pool. Talia flicked her wrist, signaling the ten League members hidden in the shadows to approach. Each one spaced equally apart around the pit with smoke pellets synthesized from blood blossoms held in their hands, ready to drop at a moment’s notice.

Pit madness rendered the majority of the living uncontrollable, with even the weakest of humans imbued with a strength that could only be induced by the purest of rage. The League was not taking chances as to how a being like her son would react to it.

The waters stilled.

Then—

A bright flash of light. Then, faster than the eyes could follow, a figure erupted from the waters. Bone white hair that twisted and curled as if it were still underwater. Skin lightly tinged frostbitten blue and clad in a suit of black and white and shrouded in an aura of blinding light. Phantom appeared from the depths, floating above the pit like a god reborn.

His eyes burned a toxic green.

“What the fuck was that?”

But not pit madness green.

Talia ordered her assassins to at ease with a raise of her hand. She slowly walked to her father’s side just as her son—Phantom—landed at the edge of the pool. Idly, Talia noticed how different Phantom seemed in comparison to her son. Physical attributes aside, Daniel tended to make himself smaller. What venom that may coat his words and the vitriol in his glares dampened by the way he held himself. Shoulders hunched and head tilted down. Non-threatening. Hands always needing to do something, whether it be holding his arms or shoved inside his pockets or constantly brushing it through his hair. No matter how she and his instructors taught him how to hold himself like a warrior, like a soldier, he still tended to present himself as a skittering little animal.

Phantom was different. He squared his soldiers and lifted his chin high, unafraid to stretch out to his fullest height and use his defiance of gravity to make himself look bigger. Stronger. His arms held steady at his sides, curled into tight fists. Green eyes—green as the Lazarus pit yet without that spark of madness that so consumed everyone else—burning with righteous fury.

“You fucking threw me into the weird green pool. What even—who does that?”

Ra’s tilted his head. “Fascinating. It seems you have a resistance to the pit madness.”

Phantom blinked, caught off guard. “Pit…madness,” he echoed. A statement, though from the wrinkle in his brows and the look he shoots Talia, it was more a question than anything else.

“It is one of the side effects of the Lazarus pits.” Talia approached her son with caution, holding his face with both hands and inspecting for any differences. “While the waters rejuvenate, restore, and even temporarily imbue one with supernatural strength, it also tends to inflict users with temporary insanity.”

“Insanity?” His eyes widened, trembling hands coming up to hold her wrists. Strangely, Daniel did not pull away from her touch. “I could have gone insane?”

Those bright eyes of his looked so frightened. Haunted. Pupils dilated to mere pinpricks of blackness, lost in a sea of Lazarus green. “Oh habeebi, only temporarily.”

“Like that’s better!” He yelled. “Even temporarily, I’m—” He staggered back, breaking out of her hold. Harmless Danny Fenton bleeding into proud Phantom as he ran his hands through his hair, unwilling to look at anyone.

Ra’s continued to watch, his arms crossed beneath his sternum, muttering to himself. Her father had prided himself on being one of the most knowledgeable about the Lazarus pits and its effects. Now, faced with a new mystery, the scholar within the Demon’s Head emerged as he observed his grandson.

“No,” Ra’s said, mostly to himself. “Perhaps less of a ‘resistance’ and more of an ‘immunity’ to it, given how both Daniel and the Lazarus pit have similar compositions. It would be a fascinating tangent to follow.” He chuckled to himself. “How droll. The life-restoring Lazarus pit holding a connection to the land of the dead.”

Talia turned to her father. “So, Daniel will not feel any of the pit’s side effects, then?”

Daniel perked up at the sound of his name, halting in his pacing. “I…might not go insane?”

“Perhaps, though it is too soon to tell. You have the waters of the Lazarus pit flowing through your veins, Daniel.” Ra’s smiled; eyes gleaming with the sparks of pride. “You and it are made of the same chemicals, the same reality-defying compounds that can bring the dead back to life.”

“Well, great. I have the same chemical makeup as a glowing hot tub, what else is new—” Her son staggered, and she caught him. Impossibly bright rings formed at his abdomen and then split, transforming Phantom back into a human. Mortal. His face haggard and sweating from the temples, eyes back to her beloved’s pale blues.

Her father did not bat an eye. “The pit’s healing effects are slowed down, then? Or perhaps it is because he has no wounds to heal?” Ra’s hummed; chin cradled in his hand. “Set him back into the pits, Talia. I believe young Daniel has yet to absorb all his needed energy.”

“Sure, yeah, that’s fine. Put me back in the crazy water, why not?” Daniel tugged at her shoulders. “Just…gently, please?”

Talia smoothed down his dark hair with a smile. “Of course, habeebi. I will even stay with you as well.”

When he looked at her, it was something almost akin to gratefulness.

------

In Gotham City, the upper echelons of society gather together at the Gotham Expo Center. The shining halls, which had been used as the site of a week-long exhibition of new scientific research, was reoutfitted to serve as the venue for the exhibition’s final event.

A gala. The hunting ground of the nouveau riche and old money families. Corporate moguls and debutants made their rounds across the floor, chatting with heirs and politicians and the who’s who of the upper class.

Scientists and researchers attempted to step out of their shells and dazzle the crowds. Wanting to fish a willing patron with deep pockets to fund their next project. Reporters huddled together like schools of fish, warily approaching the predators in their midst for a question or a photo. Both things many of the wealthy and affluent are easily ready to give, as long as it only showed off their best side in tomorrow’s society papers.

Bruce Wayne, the Prince of Gotham, and society’s darling observed everything as he always did, in that most people believed he barely noticed anything beyond what’s right in front of him. He raised the flute glass of champagne to his lips, pretending to take a sip as he listened to the chatter of sycophants around him. A few were even some promising researchers of which he made a mental note to pass along to Lucius.

Two nights ago, Bruce received a tip of unusual movements from the League of Assassins. The organization had been quiet as of late, and while Bruce had been very carefully monitoring their activities in the background, the sudden tightening of their security prompted him to take a closer look.

There had been sightings of the League of Assassins centered around a small town in Illinois—Amity Park. A rural tourist trap championing itself as the most haunted place in America. Something that Bruce would normally scoff at or zealously research about if not for John Constantine’s warning to “never go within a ten-mile radius of that hellhole.” With similar sentiments from others in the occult community, the Justice League decided to take that warning to heart. Bruce’s curiosity may have been piqued, but even he was tactful enough to avoid courting more trouble.

Suffice to say, Bruce—and especially Batman—could not afford to ignore Ra’s al Ghul’s movements. Whatever his plans were involved whatever anomalies were going on in Amity Park. And wasn’t it simply serendipitous that one of the guest lists for tonight’s gala was Vlad Masters, the mayor of Amity Park?

“Vlad Masters, is that you?” Bruce, slapping on his signature Brucie smile, masterfully detached himself from his previous group, quickly heading towards the nearby bar where he spotted Vlad getting another drink.

“Why, Bruce Wayne, it’s been so long!” The two shook hands, of which Bruce was slightly surprised at how cold to the touch Vlad was. A health condition, perhaps. Then again, there was something in Vlad’s appearance and stature that spoke of a deeper reason.

“It’s been, what, two years? What brings you to Gotham?”

“Business; the usual really.” Despite whatever friendly aura they’re projecting, Bruce Wayne and Vlad Masters weren’t friends. More acquaintances that have been forced to mingle a few times because of the nature of their business and the demands of high society. From what Bruce knows, Vlad is a business tycoon that’s as blindingly charismatic as he was infamous for his quick rise to wealth and a few rather shady dealings.

Bruce stuck his hand in his pocket. “Well Vlad, last we all heard was you dipping your toes into politics. You’re a, uh, what, a governor?”

Vlad let out an obviously fake chuckle. “Oh nothing as grand as that. I’m only a small-town mayor, really.”

“Right!” Bruce snapped his fingers. “So, what’s that like?”

“Oh dreadful work, really. So much paperwork, so many things to do or oversee, but rewarding in its own way.” He puffed out his chest. “Many of the people in Amity Park do rely on me, you know. Though I’m afraid my schedule’s busy enough that I barely have time to go home!”

“Well, we’re very happy that you made room enough to visit us here in Gotham.”

Bruce sensed Damian coming to stand beside him and instinctually placed a hand around his shoulder. Though his youngest had been steadily adjusting to his new life here in Gotham, he still preferred to stick to his father’s shadow than mingle with those of his own age groups at galas. (Then again, Bruce was very similar when he was younger so perhaps it was a genetic thing).

He smiled down at Damian—frowning as he’d rather be patrolling the streets in uniform as opposed to schmoozing with people he hardly cared about. “Have you met my son, Vlad? Damian, this is Vlad Masters, a business partner and a, uh—” He scrunched his face, pretending to remember what Vlad’s current occupation is. “Mayor of some small town out west.”

Bruce turned to look at Vlad, expecting to see some variation of ‘insulted but trying to keep up a polite façade’—only to freeze.

Vlad’s face paled considerably. His beady eyes comically wide as he looked at Damian, the fingers curled around the stem of his flute glass bone white. Damian, unnerved, steadied his stance but shifted minutely closer to Bruce.

Well, this was interesting. “You alright, Vlad? You looked like you’ve just seen a ghost.”

Vlad jerked his head towards Bruce. Surprise—and fear? —contorted his features for a brief moment before smoothed back down into a proper mask. “Mayor of Amity Park, yes. My apologies,” he chuckled. “Young—Damian, was it? —only reminded me of someone I knew once.” He shifted his gaze back to Damian. “The resemblance is actually quite uncanny.”

Damian furrowed his brows. “Amity Park?”

“You’ve heard of it, Damian?”

“I would be surprised if you did.” Vlad masters took a small ship of his champagne. “Then again, it should be expected that you might have heard of it. The town does love it’s ghosts.”

Bruce laughed. “What, like Casper?”

“Something like that, yes.” There’s a tightness to Vlad’s voice. “Amity Park is its own breed of strange. We’ve handled things well enough on our own in the past, and quite honestly you get used to all of the spooks eventually. Though I must say the shadows are quite new—I’d often ask myself if I should petition your city’s vigilante and put him on the case.

“Shadows?”

Vlad easy smile shifted into a faint grimace. “They have a rather nasty habit of snooping.”

------

Despite Bruce and Damian’s attempt at plying Vlad for more answers, Vlad kept his mouth shut, evading questions and changing topics skillfully. Something that only raised Bruce’s alarm that something was going on.

“So,” Bruce unbuttoned his suit as he stepped into the car, “How did you hear of Amity, Damian? Ghosts and ghouls don’t exactly seem like something you’d be interested in.”

He waited for Damian to buckle his seatbelt before shifting the Bentley into drive and pulling out of the Expo. They had stayed at the gala long enough, making their rounds and giving the media enough for a headline in the society pages.

Damian rested his hand against the window. His face scrunched as he watched the looming facades of Gotham’s architecture pass by. “Mother mentioned the name once or twice,” he said. “I was not…privy to every operation that happened in the League, so I don’t know anything despite that my grandfather took an interest in Amity.”

“And I’m sure that from Masters’ odd phrasing, Ra’s didn’t just magically lose that interest either.” He narrowed his eyes. “Contact Oracle and have her dig up everything we need to know about the situation in Amity Park. I think it’s time Batman made his introductions to some out-of-town guests.”

[aion-rsa]

The Legacy of Batman: Tom King, Kevin Conroy, and Scott Snyder on the Dark Knight

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This year, we talked to Tom King, Kevin Conroy, Bruce Timm, Scott Snyder, Jock, and Pete Tomasi about why Batman still matters.

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It all began with two shots in the dark, pearls spilling onto the blood-soaked cement. No, it all started when the bat crashed through the window. Actually, it was when the boy fell into the cave. Maybe it was that hostile takeover at Apex Chemicals? Dozens of stories have shaped the legend of the Batman over his 80-year history, tales that have made the Caped Crusader arguably the most iconic character in comic book history, rivaled only by Superman.

When Bill Finger and Bob Kane put pen and pencil to paper for 1939's Detective Comics #27, they had no way of knowing that they were creating a new American myth that would captivate readers and movie audiences for decades to come. They certainly didn't expect their first Batman adventure, "The Case of the Chemical Syndicate," to spawn 973 more issues of Detective Comics, let alone become a blockbuster franchise featuring movies, TV series, video games, and McDonald's Happy Meals. 

But what bigger testament to the long-lasting appeal of Batman than March’s Detective Comics #1000, written and drawn by some of the best creators in the business? The giant-sized, 96-page issue featured stories by legends such as as Dennis O'Neil, Neal Adams, Steve Epting, Christopher Priest, Jim Lee, Kelley Jones, Paul Dini, Brian Michael Bendis, Warren Ellis, and Geoff Johns as well as the current custodians of the Bat-mythos -- Tom King, Tony S. Daniel, Peter J. Tomasi, Doug Mahnke, Joelle Jones, Scott Snyder, and Greg Capullo. And that's not even including the excellent covers by Jim Steranko, Bernie Wrightson, Bruce Timm, Frank Miller, Jock, Tim Sale, and more. 

Batman is only the second DC superhero to reach such a massive milestone, the other being the Man of Steel. What is it about this character hellbent on avenging the death of his parents night after night that has kept him at the forefront of our pop culture?

“I think what makes him deeply enduring is that it’s a really primal folk tale,” Scott Snyder, who’s been writing Batman stories since 2011, says. “It’s a story about a boy who loses everything and turns that loss into fuel to make sure that what happened to him never happens to anybody else.”

While most of us aren't billionaire playboys with the resources to fight crime on a global (and sometimes cosmic) level, we understand pain, both emotional and physical, and a need to rise above it, even if we can't always do that. We sympathize with Bruce's biggest regret -- if only he hadn't made his parents take him to see that Zorro movie; if only he hadn't been frightened by the opera; if only he'd been braver and faster as the thug pulled the trigger. For Bruce, his crusade to stop evildoers comes down to replaying that single fateful moment over and over again and making possible a different outcome.

Yet, Batman perseveres despite all of this pain, which is why people flock to the character, according to Snyder. 

"It's a story of triumph over your worst fears, worst tragedy, and about taking your loss and turning it into a win," the writer says. "There's just this kind of power to him that speaks to our own potential, the human potential, even when we're challenged by things that seem insurmountably horrible." 

Snyder has spent the better part of a decade showcasing Batman as a symbol of hope for the citizens of Gotham, putting him through the ringer, reopening old wounds while also making new ones -- the writer even killed the hero off at one point -- just so that he can pick himself up again and keep fighting. 

But the character isn't driven solely by tragedy. Who could hang with a downer like that for 80 years? 

"There are the fun elements, of course, that are similar to James Bond, like the gadgets, and the cars, and the planes, and just the cool factor of his costume."

Tom King, who recently wrapped up an 85-issue run on Batman and currently has a Batman/Catwoman miniseries in the works, looks back to the character's real-life point of origin as the reason he has stood the test of time.

"You have to go back to the moment of creation with him. You've got [Bob Kane and Bill Finger], the children of immigrants, so we're like, what, 1938, '39, we're in Manhattan. And at that time, I mean, go back and look at the pictures, Batman was created like 20 blocks from Madison Square Garden where they had a Nazi rally that attracted a hundred thousand people. They were marching in the streets."

These tumultuous times shaped the fabric of Batman, according to King.

"[Kane and Finger] were living here and their literal cousins and grandparents were getting killed in Europe, right? And they created something uniquely American. Batman succeeds because there's something genuinely beautifully American about it."

According to Batman: The Animated Series voice actor Kevin Conroy, Batman’s continued popularity goes back to something primal. To the classically trained actor who was immortalized as the voice of Batman in the ‘90s cartoon, the Caped Crusader is a modern retelling of myths and stories humans have been passing down for thousands of years.

“He’s such a theatrical character,” Conroy says, admitting he was at first hesitant to audition for the role. At the time, he was a theater actor who'd never done an animated role. But when he read the script, the character clicked. Conroy recognized this story. “They were absolutely right to cast a theater actor, especially one with a classical background, because this is Shakespeare. They’re doing high drama. Batman is Achilles. He’s Orestes. He’s Hamlet.”

The tragic Greek character Orestes, in particular, was on Conroy’s mind when playing Batman. By that point, he’d performed several plays as Orestes, a son who avenges his father’s murder and goes mad because of it. By the end of the story, Orestes has gone through hell and back because of his thirst for vengeance. Naturally, Conroy brought that familiarity with Orestes to his portrayal of Batman.

“He’s a Homeric hero,” Conroy says of the Caped Crusader. “I think of it often when I’m doing Batman because Orestes is haunted by the Furies. He descends into hell. He comes back. He’s resurrected at the end, and I think so often, this is a very Orestial-like journey that Bruce Wayne goes on. His Furies are the memory of his parents’ murder. It haunts him through his life. It’s transformed him."

Conroy calls Batman a “classic character.” Like Orestes before him, Batman has become the protagonist of our very own mythology.

“He’s come out of such a fire and instead of letting life crush him, he turns that metamorphosis into something even greater than himself,” Conroy says. “They’ve been telling that story for thousands of years in different cultures, and this is our culture’s way of telling those stories, and I think they’re just as valid.”

Bruce Timm, who co-created Batman: The Animated Series and designed the show's iconic Art Deco aesthetic, is unsurprisingly most taken by Batman's look. 

"I just think Batman looks great," Timm says during our chat at NYCC in 2018. "He's got the best costume motif in comics. Nothing comes close. He's dark, sexy, and broody. It's really intoxicating and compelling in a way that almost no other in comics can come close to it."

He also admires the durability of the character through the different eras of comics, from the Golden Age, to the sillier '50s and '60s stories of the Comics Code era, to the darker takes we're more accustomed to today. 

"It is amazing to me how flexible he is as a character. That you could have something as silly as the Adam West show or the old '50s comics, and then you have stuff like Neal Adams and Frank Miller and what we did. And you know, even more extreme, [Grant Morrison and Dave McKean's graphic novel] Arkham Asylum and things like that. And yet their all kind of the same character. It's like that character can encompass all of those different things. He can do space aliens and serial killers, you know? Yet, it kind of works."

This flexibility has allowed plenty of writers and artists to experiment with the Dark Knight, creating different versions of the character over the years. There really isn't a definitive take on Batman. You can love the Batusi, Bat-Mite, or Mr. Freeze's cool party and still be right on the money about the Caped Crusader. You'd be remiss to call the character stale. The guy has done it all.

"It's almost like he's a force of nature, in which stories can happen around him, and there's something primordial, maybe, about the character and the way he looks, as well," says veteran Batman artist Jock, who most recently worked on a seven-part miniseries with Snyder called The Batman Who Laughs. "You could put Batman in a new pose, and he'd still flourish, and I think those kinds of characters are very rare."

Peter J. Tomasi, who is currently writing Detective Comics, puts it best:

"He's a character who can work across all genres. Somehow, someway, he can simply fit into every story, be it a war story, a western, a love story, a comedic angle, sci-fi, horror, fantasy, you name it, and of course any detective story you can possibly imagine."

Superheroes won't always be at the top of our pop culture food chain. It's inevitable that many of the characters we love today will fade with future generations, just as the Shadow, Doc Savage, Zorro, and the Scarlet Pimpernel did. Will we still be talking about Batman in another 80 years? We may eventually embrace new forms of familiar myths, becoming obsessed with new idols. But only a fool would bet against a character who's survived as long as Batman has. Remember, the Batman always wins.

John Saavedra is an associate editor at Den of Geek. Read more of his work here. Follow him on Twitter @johnsjr9 and make sure to check him out on Twitch.

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John Saavedra

Dec 18, 2019

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Batman at 80: Why the Dark Knight Still Matters

https://ift.tt/2JHaNx5

Batman turns 80 this year. We talked to Kevin Conroy, Bruce Timm, Scott Snyder, and more about the hero's legacy!

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It all began with two shots in the dark, pearls spilling onto the blood-soaked cement. No, it all started when the bat crashed through the window. Actually, it was when the boy fell into the cave. Maybe it was that hostile takeover at Apex Chemicals? Dozens of stories have shaped the legend of the Batman over his 80-year history, tales that have made the Caped Crusader arguably the most iconic character in comic book history, rivaled only by Superman.

When Bill Finger and Bob Kane put pen and pencil to paper for 1939's Detective Comics #27, they had no way of knowing that they were creating a new American myth that would captivate readers and movie audiences for decades to come. They certainly didn't expect their first Batman adventure, "The Case of the Chemical Syndicate," to spawn 973 more issues of Detective Comics, let alone become a blockbuster franchise featuring movies, TV series, video games, and McDonald's Happy Meals. 

But what bigger testament to the long-lasting appeal of Batman than March’s Detective Comics #1000, written and drawn by some of the best creators in the business? The giant-sized, 96-page issue featured stories by legends such as as Dennis O'Neil, Neal Adams, Steve Epting, Christopher Priest, Jim Lee, Kelley Jones, Paul Dini, Brian Michael Bendis, Warren Ellis, and Geoff Johns as well as the current custodians of the Bat-mythos -- Tom King, Tony S. Daniel, Peter J. Tomasi, Doug Mahnke, Joelle Jones, Scott Snyder, and Greg Capullo. And that's not even including the excellent covers by Jim Steranko, Bernie Wrightson, Bruce Timm, Frank Miller, Jock, Tim Sale, and more. 

Batman is only the second DC superhero to reach such a massive milestone, the other being the Man of Steel. What is it about this character hellbent on avenging the death of his parents night after night that has kept him at the forefront of our pop culture?

“I think what makes him deeply enduring is that it’s a really primal folk tale,” Scott Snyder, who’s been writing Batman stories since 2011, says. “It’s a story about a boy who loses everything and turns that loss into fuel to make sure that what happened to him never happens to anybody else.”

While most of us aren't billionaire playboys with the resources to fight crime on a global (and sometimes cosmic) level, we understand pain, both emotional and physical, and a need to rise above it, even if we can't always do that. We sympathize with Bruce's biggest regret -- if only he hadn't made his parents take him to see that Zorro movie; if only he hadn't been frightened by the opera; if only he'd been braver and faster as the thug pulled the trigger. For Bruce, his crusade to stop evildoers comes down to replaying that single fateful moment over and over again and making possible a different outcome.

Yet, Batman perseveres despite all of this pain, which is why people flock to the character, according to Snyder. 

"It's a story of triumph over your worst fears, worst tragedy, and about taking your loss and turning it into a win," the writer says. "There's just this kind of power to him that speaks to our own potential, the human potential, even when we're challenged by things that seem insurmountably horrible." 

Snyder has spent the better part of a decade showcasing Batman as a symbol of hope for the citizens of Gotham, putting him through the ringer, reopening old wounds while also making new ones -- the writer even killed the hero off at one point -- just so that he can pick himself up again and keep fighting. 

But the character isn't driven solely by tragedy. Who could hang with a downer like that for 80 years? 

"There are the fun elements, of course, that are similar to James Bond, like the gadgets, and the cars, and the planes, and just the cool factor of his costume."

According to Batman: The Animated Series voice actor Kevin Conroy, Batman’s continued popularity goes back to something primal. To the classically trained actor who was immortalized as the voice of Batman in the ‘90s cartoon, the Caped Crusader is a modern retelling of myths and stories humans have been passing down for thousands of years.

“He’s such a theatrical character,” Conroy says, admitting he was at first hesitant to audition for the role. At the time, he was a theater actor who'd never done an animated role. But when he read the script, the character clicked. Conroy recognized this story. “They were absolutely right to cast a theater actor, especially one with a classical background, because this is Shakespeare. They’re doing high drama. Batman is Achilles. He’s Orestes. He’s Hamlet.”

The tragic Greek character Orestes, in particular, was on Conroy’s mind when playing Batman. By that point, he’d performed several plays as Orestes, a son who avenges his father’s murder and goes mad because of it. By the end of the story, Orestes has gone through hell and back because of his thirst for vengeance. Naturally, Conroy brought that familiarity with Orestes to his portrayal of Batman.

“He’s a Homeric hero,” Conroy says of the Caped Crusader. “I think of it often when I’m doing Batman because Orestes is haunted by the Furies. He descends into hell. He comes back. He’s resurrected at the end, and I think so often, this is a very Orestial-like journey that Bruce Wayne goes on. His Furies are the memory of his parents’ murder. It haunts him through his life. It’s transformed him."

Conroy calls Batman a “classic character.” Like Orestes before him, Batman has become the protagonist of our very own mythology.

“He’s come out of such a fire and instead of letting life crush him, he turns that metamorphosis into something even greater than himself,” Conroy says. “They’ve been telling that story for thousands of years in different cultures, and this is our culture’s way of telling those stories, and I think they’re just as valid.”

Bruce Timm, who co-created Batman: The Animated Series and designed the show's iconic Art Deco aesthetic, is unsurprisingly most taken by Batman's look. 

"I just think Batman looks great," Timm says during our chat at NYCC in 2018. "He's got the best costume motif in comics. Nothing comes close. He's dark, sexy, and broody. It's really intoxicating and compelling in a way that almost no other in comics can come close to it."

He also admires the durability of the character through the different eras of comics, from the Golden Age, to the sillier '50s and '60s stories of the Comics Code era, to the darker takes we're more accustomed to today. 

"It is amazing to me how flexible he is as a character. That you could have something as silly as the Adam West show or the old '50s comics, and then you have stuff like Neal Adams and Frank Miller and what we did. And you know, even more extreme, [Grant Morrison and Dave McKean's graphic novel] Arkham Asylum and things like that. And yet their all kind of the same character. It's like that character can encompass all of those different things. He can do space aliens and serial killers, you know? Yet, it kind of works."

This flexibility has allowed plenty of writers and artists to experiment with the Dark Knight, creating different versions of the character over the years. There really isn't a definitive take on Batman. You can love the Batusi, Bat-Mite, or Mr. Freeze's cool party and still be right on the money about the Caped Crusader. You'd be remiss to call the character stale. The guy has done it all.

"It's almost like he's a force of nature, in which stories can happen around him, and there's something primordial, maybe, about the character and the way he looks, as well," says veteran Batman artist Jock, who most recently worked on a seven-part miniseries with Snyder called The Batman Who Laughs. "You could put Batman in a new pose, and he'd still flourish, and I think those kinds of characters are very rare."

Tomasi, who is currently writing Detective Comics, puts it best:

"He's a character who can work across all genres. Somehow, someway, he can simply fit into every story, be it a war story, a western, a love story, a comedic angle, sci-fi, horror, fantasy, you name it, and of course any detective story you can possibly imagine."

Superheroes won't always be at the top of our pop culture food chain. It's inevitable that many of the characters we love today will fade with future generations, just as the Shadow, Doc Savage, Zorro, and the Scarlet Pimpernel did. Will we still be talking about Batman in another 80 years? We may eventually embrace new forms of familiar myths, becoming obsessed with new idols. But only a fool would bet against a character who's survived as long as Batman has. Remember, the Batman always wins.

John Saavedra is an associate editor at Den of Geek. Read more of his work here. Follow him on Twitter @johnsjr9 and make sure to check him out on Twitch.

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John Saavedra

Sep 21, 2019

Batman

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Scott Snyder

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SDCC 2019

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Batman Celebrates 80 Years: Why the Dark Knight Still Matters

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Batman turns 80 this year. We talked to Kevin Conroy, Bruce Timm, Scott Snyder, and more about the hero's legacy!

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It all began with two shots in the dark, pearls spilling onto the blood-soaked cement. No, it all started when the bat crashed through the window. Actually, it was when the boy fell into the cave. Maybe it was that hostile takeover at Apex Chemicals? Dozens of stories have shaped the legend of the Batman over his 80-year history, tales that have made the Caped Crusader arguably the most iconic character in comic book history, rivaled only by Superman.

When Bill Finger and Bob Kane put pen and pencil to paper for 1939's Detective Comics #27, they had no way of knowing that they were creating a new American myth that would captivate readers and movie audiences for decades to come. They certainly didn't expect their first Batman adventure, "The Case of the Chemical Syndicate," to spawn 973 more issues of Detective Comics, let alone become a blockbuster franchise featuring movies, TV series, video games, and McDonald's Happy Meals. 

But what bigger testament to the long-lasting appeal of Batman than March’s Detective Comics #1000, written and drawn by some of the best creators in the business? The giant-sized, 96-page issue featured stories by legends such as as Dennis O'Neil, Neal Adams, Steve Epting, Christopher Priest, Jim Lee, Kelley Jones, Paul Dini, Brian Michael Bendis, Warren Ellis, and Geoff Johns as well as the current custodians of the Bat-mythos -- Tom King, Tony S. Daniel, Peter J. Tomasi, Doug Mahnke, Joelle Jones, Scott Snyder, and Greg Capullo. And that's not even including the excellent covers by Jim Steranko, Bernie Wrightson, Bruce Timm, Frank Miller, Jock, Tim Sale, and more. 

Batman is only the second DC superhero to reach such a massive milestone, the other being the Man of Steel. What is it about this character hellbent on avenging the death of his parents night after night that has kept him at the forefront of our pop culture?

“I think what makes him deeply enduring is that it’s a really primal folk tale,” Scott Snyder, who’s been writing Batman stories since 2011, says. “It’s a story about a boy who loses everything and turns that loss into fuel to make sure that what happened to him never happens to anybody else.”

While most of us aren't billionaire playboys with the resources to fight crime on a global (and sometimes cosmic) level, we understand pain, both emotional and physical, and a need to rise above it, even if we can't always do that. We sympathize with Bruce's biggest regret -- if only he hadn't made his parents take him to see that Zorro movie; if only he hadn't been frightened by the opera; if only he'd been braver and faster as the thug pulled the trigger. For Bruce, his crusade to stop evildoers comes down to replaying that single fateful moment over and over again and making possible a different outcome.

Yet, Batman perseveres despite all of this pain, which is why people flock to the character, according to Snyder. 

"It's a story of triumph over your worst fears, worst tragedy, and about taking your loss and turning it into a win," the writer says. "There's just this kind of power to him that speaks to our own potential, the human potential, even when we're challenged by things that seem insurmountably horrible." 

Snyder has spent the better part of a decade showcasing Batman as a symbol of hope for the citizens of Gotham, putting him through the ringer, reopening old wounds while also making new ones -- the writer even killed the hero off at one point -- just so that he can pick himself up again and keep fighting. 

But the character isn't driven solely by tragedy. Who could hang with a downer like that for 80 years? 

"There are the fun elements, of course, that are similar to James Bond, like the gadgets, and the cars, and the planes, and just the cool factor of his costume."

According to Batman: The Animated Series voice actor Kevin Conroy, Batman’s continued popularity goes back to something primal. To the classically trained actor who was immortalized as the voice of Batman in the ‘90s cartoon, the Caped Crusader is a modern retelling of myths and stories humans have been passing down for thousands of years.

“He’s such a theatrical character,” Conroy says, admitting he was at first hesitant to audition for the role. At the time, he was a theater actor who'd never done an animated role. But when he read the script, the character clicked. Conroy recognized this story. “They were absolutely right to cast a theater actor, especially one with a classical background, because this is Shakespeare. They’re doing high drama. Batman is Achilles. He’s Orestes. He’s Hamlet.”

The tragic Greek character Orestes, in particular, was on Conroy’s mind when playing Batman. By that point, he’d performed several plays as Orestes, a son who avenges his father’s murder and goes mad because of it. By the end of the story, Orestes has gone through hell and back because of his thirst for vengeance. Naturally, Conroy brought that familiarity with Orestes to his portrayal of Batman.

“He’s a Homeric hero,” Conroy says of the Caped Crusader. “I think of it often when I’m doing Batman because Orestes is haunted by the Furies. He descends into hell. He comes back. He’s resurrected at the end, and I think so often, this is a very Orestial-like journey that Bruce Wayne goes on. His Furies are the memory of his parents’ murder. It haunts him through his life. It’s transformed him."

Conroy calls Batman a “classic character.” Like Orestes before him, Batman has become the protagonist of our very own mythology.

“He’s come out of such a fire and instead of letting life crush him, he turns that metamorphosis into something even greater than himself,” Conroy says. “They’ve been telling that story for thousands of years in different cultures, and this is our culture’s way of telling those stories, and I think they’re just as valid.”

Bruce Timm, who co-created Batman: The Animated Series and designed the show's iconic Art Deco aesthetic, is unsurprisingly most taken by Batman's look. 

"I just think Batman looks great," Timm says during our chat at NYCC in 2018. "He's got the best costume motif in comics. Nothing comes close. He's dark, sexy, and broody. It's really intoxicating and compelling in a way that almost no other in comics can come close to it."

He also admires the durability of the character through the different eras of comics, from the Golden Age, to the sillier '50s and '60s stories of the Comics Code era, to the darker takes we're more accustomed to today. 

"It is amazing to me how flexible he is as a character. That you could have something as silly as the Adam West show or the old '50s comics, and then you have stuff like Neal Adams and Frank Miller and what we did. And you know, even more extreme, [Grant Morrison and Dave McKean's graphic novel] Arkham Asylum and things like that. And yet their all kind of the same character. It's like that character can encompass all of those different things. He can do space aliens and serial killers, you know? Yet, it kind of works."

This flexibility has allowed plenty of writers and artists to experiment with the Dark Knight, creating different versions of the character over the years. There really isn't a definitive take on Batman. You can love the Batusi, Bat-Mite, or Mr. Freeze's cool party and still be right on the money about the Caped Crusader. You'd be remiss to call the character stale. The guy has done it all.

"It's almost like he's a force of nature, in which stories can happen around him, and there's something primordial, maybe, about the character and the way he looks, as well," says veteran Batman artist Jock, who most recently worked on a seven-part miniseries with Snyder called The Batman Who Laughs. "You could put Batman in a new pose, and he'd still flourish, and I think those kinds of characters are very rare."

Tomasi, who is currently writing Detective Comics, puts it best:

"He's a character who can work across all genres. Somehow, someway, he can simply fit into every story, be it a war story, a western, a love story, a comedic angle, sci-fi, horror, fantasy, you name it, and of course any detective story you can possibly imagine."

Superheroes won't always be at the top of our pop culture food chain. It's inevitable that many of the characters we love today will fade with future generations, just as the Shadow, Doc Savage, Zorro, and the Scarlet Pimpernel did. Will we still be talking about Batman in another 80 years? We may eventually embrace new forms of familiar myths, becoming obsessed with new idols. But only a fool would bet against a character who's survived as long as Batman has. Remember, the Batman always wins.

Read and download the Den of Geek SDCC 2019 Special Edition Magazine right here!

John Saavedra is an associate editor at Den of Geek. Read more of his work here. Follow him on Twitter @johnsjr9 and make sure to check him out on Twitch.

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John Saavedra

Jul 20, 2019

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