#and epic battles between good and evil forces in under

[rhythmicreverie]

In the stars' grand cosmic ballet, A lost sibling, once anew, Brought chaos in this family play. Dark forces clashed, and light prevailed, As love and strength redefined the tale.

[chyertsar]

the etymology of koschei the deathless ( part i — khan könchek : the internalized turkic enemy )

if you're a geek for breaking down and analyzing myths like me or are wondering where the hell i'm pulling koschei's narrative from, please grab some tea and get ready for this yapfest of a series. there's too much to discuss on one post, but i want to start with his historical etymology because in order to understand any myth/fable ( especially in regards to the antagonistic archetypes ) you have to understand the broader cultural and historical circumstances that begat them.

as we know, koschei is widely regarded in slavic folklore as the undead sorcerer / draconic king. he’s immortal, greedy, and cruel. he is a rival to the hero, who flies in from no where to burn your village and/or steal your bride for no particular reason other than the fact that he's evil. but i think it's much more appropriate ( and fun ! ) to interpret koschei's fable in a way that views the caricature more critically and honors the fact that his is a figure borne from and made to represent a cultural fear. specifically, a rus' fear derived from the turkic nomadic presence that once defined the steppes of rus' during the 12th century.

khan könchek

from its inception in the 800s, rus' was home to not just the principalities of the migrated slavs, but to various tribes of turkic nomads who traversed the steppes, more broadly referred to as the tatars. while koschei appears in fables sometime around 17th/18th century ( possibly earlier ), folklorists believe that koschei and ivan's fables were inspired by the 12th century epic poem the tale of igor's campaign which recounts a real life battle between the slavic prince igor of kiev and a turkic khan könchek. könchek was said to have been a koshey (slave) who had returned from georgia (the caucasus) to the steppe around 1126–1130 AD. by 1172, he became the leader of the cumans ( aka the polovytsy, a tribe of horse-riding warriors and a western subgroup of the tatar ).

by könchek's time, kievan rus' was very much a game of thrones. principalities and tatar tribes were constantly fighting over lands, but it'd be a misconception to think that the enemy lines were solidly divided between the rus' and the tatar. very often, tatar raids were ordered by a prince of rus' who wanted to conquer a neighboring principality. inversely, a friendly tatar tribe might have offered their forces to help defend an allied principality. these interactions were fluid and dependent on the agendas of each individual group, but könchek saw the treachery and division between the princes as an opportunity to unite the cuman tribes under one banner and waged war against the principalities of kiev,  pereïaslavl, and chernigov. it wasn't just the cumans that he rallied though. he also managed to ally with the rus' prince of novhorod.

the tale of igor's campaign

könchek's attack against the principality of kiev and igor's subsequent invasion into cuman territory is the central focus of the epic poem. it starts with prince igor receiving an ill omen, an eclipsed solstice, which bids him not to engage könchek's forces without military aid. igor still chooses glory over caution and leads an independent campaign into cuman territory. this leads to a disastrous defeat as well as his capture by könchek. however, while holding igor prisoner, the khan did not treat igor poorly but instead seized the opportunity to negotiate concessions and an alliance by offering his daughter's hand in marriage to igor's son.

the poem has igor's wife (yaroslavna) lament her husband's capture and praying for his return. with the help of mythic forces, igor escapes the cuman camp as a bold and fatefully blessed hero, calling for the unity of the principalities to fight the turkic threat. however, it was believed that könchek purposely let igor go after his capture so he'd consider the alliance in good faith because historically, the warring did actually end with könchek's daughter marrying igor's son. the poem embellishes igor's heroism, but it never villainizes könchek. instead it uses him as a device to emphasize the vulnerabilities of a fragmented rus' and to serve as a lesson in the value of pragmatism and the power of unity. the true villain of the story is actually prince igor's foolishness and the disconnection between the princes of rus'.

we can probably agree then that many of the negative aspects of koschei's character are distortions of what was historically a more nuanced relationship between the tatars and christian slavs. khan konchek is the perfect example of that nuance, but as a pagan and non-rus', time wove his story into the caricature of koschei, a villain who represents the tatar stereotypes and rus' fear of "the pagan other" "the raider" and "the wife-snatcher". to be clear, this isn't to absolve or claim that the tatar didn't engage in these acts, but it is to say that these were the crimes and realities of war inflicted by not just a single ethnic group, but by war-mongering men in general -- both tatar and rus'. koschei's fable being a russian one just idealizes the christianized russian warrior while demonizing the pagan turkic one.

other parallels between könchek & koschei

* as a khan, könchek was understood to have control over the wealth of the nomadic steppe whether that meant gold, horses, or shamanistic power. this aspect of him later evolved into koschei’s association with sorcery, horses, and hoarding gold and magical tokens. * könchek's last record is dated to be during the 1203 capture of kiev, which if true means he possibly lived past 100 years of age -- for the time this would have been over six generations long. koschei's deathlessness may be a reference to könchek's unusual longevity. * koschei's separation of soul and body ( often hidden in a needle, inside an egg, in a duck, in a hare, in a chest, etc.) is a nod to the russian doll, but also mimics shamanic soul-travel — a concept deeply rooted in turkic animist traditions. it also seems to be a nod to turkic amulets which were egg shaped and contained arrowheads ( a needle of a kind ! ) * the name "koschei" likely derives from the old slavic word kost’ (bone), a reference to skeletal and miserly attributes, but it could also stem from the old turkic košči, meaning "slave" or "captive" as könchek was and as koschei presents in the marya morevna fable. either way, the name codes koschei as both the "bone man" (a symbol of death and decay) and a former captive or servant — very likely of turkic blood which is why i regard it more as an accepted nickname than his birth name !

etymology of the polovytsy / cumans

as a side note, i wanted to also share the meaning behind the turkic tribe's name because this ties into my reasoning for making koschei my token problematic blonde !! generally speaking, the tatars, especially from the mongolic side, had more east asian features with dark hair and dark eyes, making them a little more distinguishable among the rus'. however, the polovtsy being a western group named specifically "the blonde ones" suggests their features may have been a bit less obviously turkic.

the old ukrainian word polovtsy is derived from polovo ( "straw") and the old east slavic word polovŭ  ( all meaning "blond, pale, yellow"); the rus' also called the cumans the sorochinetses — derived from the turkic sary chechle ("yellow-haired"); the term cuman is rooted in the turkic quman or qoman ("pale yellow, sallow, cream coloured"). all of these however, could also be referring to the yellow-sheened alke teke horses that the cumans were known to ride as well.

the reason why i'm inclined to lean more towards the blonde theory is because blonde privilege is very real !! and koschei as a blonde better suits the notion of him being an enemy from within and without, especially after his escape from slavery. during his travels, no one would look at him and guess he's part tatar or that there's anything "foreign" or "other" about him which allows this icarian boy to enter spaces he otherwise wouldn't have been allowed in. of course, the shoe drops at some point though!

conclusion

this is all to say that i do and will continue to draw a lot of inspiration for koschei's verse origins and background from the cumans and könchek's history in the sense that koschei will always be part turkic ( or the worldstate equivalent ) from his father's side and raised as a cheliad ( slave serf ) under a principality that defeated his father. although he primarily was given to agricultural labor, he'll always be drafted into a war against his will when he comes of age, but will also always return from the war and rise up to a position of power in the chyerti realm.

he does so by unifying their factions against a common foe -- usually the realm of man and/or death. while he is ruthless and vengeful, it's important to remember that he is not motivated to do evil for evil's sake, but it's more so out of a "means justify the ends" stand point. gratuitously evil as the fairytales make him out to be, they do shed some rare moments of koschei's pragmatism, like in the marya morevna fable where he offers ivan three chance to fuck off before his horse kills him. so just some food for thought and a bit of context for where their struggle actually comes from !

[short-wooloo]

Star Wars saga full of Jewish references and themes. Did you know Yoda was Jewish?

Like so many of you, I am anxiously awaiting the release of Star Wars Episode VII: The Force Awakens.

A long time ago in a galaxy far away…1977 actually…we were introduced to this most amazing epic, and appreciation has only grown over the ensuing years. The characters have become embedded in American culture.

For most fans, Star Wars is great entertainment, and it is definitely that…and much more.

The Star Wars series is eclectic. It combines many religious, philosophical and historic themes taken from a wide array of religions, including Zoroastrianism, Taoism, Stoicism, Nihilism, Christianity and also Judaism. A student of any of these religions will find something of their own faith somewhere in Star Wars.

College level classes have been taught on the mythology and symbolism that are so much a part of Star Wars. There is even a book entitled “Star Wars and Philosophy: More Powerful than You Can Possibly Imagine” which is a compilation written by various college professors.

Most prominently, the conflict between “light” and “dark” sides of the Force comes almost directly from Zoroastrianism and their intertwining connection certainly is a reflection of the yin and yang of Taoism. And there is much more.  The strong ethical element to Star Wars bears a direct connection to various ideals of Buddhism and Stoicism.

The virtues the Jedi shares with the Stoic sages are patience, commitment, seriousness, calm, caution, benevolence, and, of course, wisdom. Given all these virtues, Yoda is what the ancient Stoics described as the sage, the ideal person who has perfected reason and achieved complete wisdom. Speaking of Yoda, students of Hebrew will recognize several choices of names in the films as having Hebrew roots. Yoda most obviously comes from the Hebrew word Yodea, meaning one with knowledge.

Both Judaism and Christianity are reflected in Star Wars, philosophically and historically. Particularly concerning the depiction of the eternal conflict between good and evil, students of Judaism will recognize the yetzer ha-tov vs. the yetzer ha-ra, the opposing human inclinations present in every person. There may even be a connection to the Dead Sea Scrolls, one of which is entitled “The War of the Sons of Light Against the Sons of Darkness.”

The struggle between good and evil in Star Wars seems closer to the Christian concept where good and evil are competing and independent powers battling over the domain of creation. Judaism, of course, sees everything as emanating from a single Creator. This includes evil that has no independent will of its own to oppose God, but is also under God’s domain, as is portrayed in the Book of Job.

Judaism teaches that the source of Light and Darkness are One and the same, as it says in the prayer book: “Blessed art You, Eternal One, our God, Ruler of the Universe, Who forms light and creates darkness, Who makes peace and creates all things.” The source for this line of liturgy can be found in the Hebrew Bible, Isaiah 45:7: “Who forms light and creates darkness, Who makes peace and creates evil; I am the Eternal One, Who makes all these.”

The ever-present and overarching theme of Star Wars is that of the Force that endows these films with their undeniable spiritual orientation. The Force is what gives a Jedi his power. It’s an energy field created by all living things. It binds the galaxy together.

Call it what you like; it sounds like God to me.

The expression “May the Force be with you” is emblematic of the Star Wars legacy. This line is invoked by at least one character in each of the Star Wars movies. To those familiar with the Catholic Mass, these words seem to directly reflect Dominus vobiscum, the Latin phrase meaning “The Lord be with you” – the ancient salutation and blessing traditionally used by the clergy in the Roman Catholic Mass, and several other Christian denominations.

In other ways, the Force has taken on Christian overtones. In “The Phantom Menace,” Anakin Skywalker (Darth Vader as a boy) is supposedly the result of a virgin birth.

And there are suggestions of Messianism as well. The idea of a foretold “Chosen One” who would restore balance to the Force is a theme running throughout the Star Wars films.

I do not believe that George Lucas set out to create a science fiction universe intended specifically to reflect Jewish history. Nevertheless, the allusions are apparent to Jews.  Darth Vader and company are Nazis and Storm Troopers – the embodiment of all that is evil and destructive.

Since it is Chanukah, I should add that the heroes of Star Wars, the members of a “rebel alliance,” are the few against the many. They could be the Maccabees in outer space, the small band of determined fighters who struggled against the overwhelming power of the Greek Syrians, or they could be the partisans and defenders of the Warsaw Ghetto who did all that they could to resist the Nazis.

This brief essay actually is only scratching the surface. Stars Wars is so much more than science fiction. On so many levels, it is a serious endeavor dealing with universal human concerns that are confronted by all of the world’s religions. Its universalistic moral themes, as much as its originality and cinematic genius, are what endows Star Wars with timeless value.

[paulagnewart]

40re Than Meets the Eye!

It is a world transformed, where things are not what they seem.

It is a world of heroic Autobots waging their battle to destroy the evil forces of the Decepticons. And on Saturday 18th May 1985, the time had arrived for the land down under to become part of that world. Happy 40th Aussiversary, Transformers!

Many were unprepared for the ensuring onslaught of robotic rumbles, but a select few found their journeys brought full circle. These strange metallic beings from another planet had infiltrated Australia much earlier, with their Marvel Comics exploits hidden among newsagent, supermarket and comic shop racks throughout latter 1984. Toy retailers with their ears to the ground also knew Hasbro and Takara's offerings were a certified million-dollar hit, leading to a handful of independent outlets importing what was left of a limited range just in time for the festive season.

Comic books were all very well. As was winning TAGMA's prestige Toy of the Year award. But how would the cartoon measure up? Initially slated to air at 8:30am as the final segment of Network Ten's Saturday morning Cartoon Capers lineup, 'More Than Meets the Eye: Part One' was abruptly brought forward an hour to make way for supposedly more important extended Rugby League coverage. This would be the first of multiple times Ten's sport-shunting schedule plagued the series. Compared to other preempted programs it's a miracle anyone saw it at all, but young fans did, and the Transformers' popularity swiftly skyrocketed.

Among the first major retailers to stock them was Grace Brothers, who mere weeks earlier began advertising the range. Those limited to loose change could pick up a Decepticon cassette pack or Construction for $7.99. Bigger pockets meant enough for one of their assorted Autobot cars at $13.99, or even splurge a dollar extra for that elusive Decepticon jet. Soundwave meanwhile could infiltrate daytime playtime for $19.99, or standing in a league of his own was the mighty Optimus Prime, setting parents back a steep $29.99.

If buying them wasn't an option, then fans could always try to win them. One day after 'More Than Meets the Eye: Part Two' aired, The Sydney Morning Herald transformed their weekly "Super Scene" colouring contest into an epic space battle between Grimlock, Slag, an autonomous floating Auto-Launcher plus a duo of tiny Jetfires. Judging was split between under-11's and 12's-up, three from each in with the chance to win an Optimus Prime, Soundwave and assorted Decepticon jet. Foreseeing the intensity of entrants, they generously offered forty lucky runner-ups a free random Autobot mini-car.

"Attack the Autobot Commarnduh!" echoed across playgrounds as plastic and metal clashed with Earth's fate hanging in the balance. The Transformers triple-pronged invasion of imaginations, screens and shelves was a success, but local distributor Milton Bradley were far from finished. The latter half of 1985 would hit with an unprecedented and seemingly unending wave of Autobot and Decepticon names, faces and emblems emblazoned across almost any piece of merchandising imaginable.

Be it puzzles, colouring books, soaps, stationary, cutlery, activity stations, clothing, bedding, storybooks, shoes, badges, cassette players, party goods, board games, confectionary or collectable Action Cards, there was no escape. Who could forget the Transformers chocolate bars? Those small rectangular treats were Lifesavers' answer to Cadbury's Furry Friends, each wrapper containing one of 24 temporary tattoos to collect. Or Peters' official ice block which 'transformed' between lemonade, raspberry and cola flavours. But don't throw out those sticks in case they contain an instant toy prize. And if not, they make great bookmarks for Peters' and Federal Comics' limited edition omnibus reprint of the first four Marvel issues, complete with 'alternate' ending giving the Autobots a final, decisive victory.

That wasn't to say Cybertron's finest were entirely immune to criticism. Among the first to face moral guardians' firing squad was Megatron, whose realistic alt mode drew enough criticism in several states for the toy to be recalled or even outright banned. Canberra Times' Debbie Cameron dismissed both The Transformers and rival Bandai's Machine Men as "Terrible toys that convert from robot to war-toy", taking particular disdain towards Cy-Kill. In a later article titled 'They Want These Things Because They're on TV', late journalist Keith Dunstan bemoaned how "Every child I encountered was besotted with Transformers", echoing suffering parents cries that "The disease was of such proportions" and "It's the most insidious thing I've ever known".

If they had any hopes of swaying the public away from supposedly evil robot toys, such arguments fell on deaf ears. Particularly come Christmas when, in spite of foreknowledge, extra lead-in time and a near-complete range of the 1984/5 assortment available, Milton Bradley underestimated their success. Last year's top seller Trivial Pursuit was all but forgotten when newspaper and TV reports filled with scenes of Transformersmania, boasting how "Sales success of other gifts pales to insignificance beside this phenomenal seller".

The struggle to keep up with demand took a fatal hit when Milton Bradley were unable to supply more in time for the holidays, leading to chaotic scenes at stores. One Grace Brothers outlet reported selling 90 Transformers in less than an hour. K-Mart fared no better; many limited to a single shipment the size of two shopping trolleys meant fighting for that prized character. Even the new Tyco transforming electronic racetrack and train sets with their blistering $99 price tags became elusive. And when an average four out of five toy shops were completely cleared out well before festivities began, increasingly desperate parents turned to trade classifieds in the hopes of securing even a single toy.

Described in publicity material as "A space-age range of cars, aeroplanes and boats which change into robots" guaranteed to "Charge the children's enthusiasm", The Transformers were for a time the biggest craze to hit this land, truly earning their badge of "Superstars of the Toy World!". It's a hype which gradually subsided as later years and later toys came along, but Australia's love for those Robots in Disguise remains to this day undeniably, passionately steadfast.

[tenjad129]

PLANET OF THE TOONS Story Overview

Ladies and gentlemen, young and old, I present to you, if any or all of you are even interested at all, a rough, conceptual overview of my proposed story for a prospective live action and/or animation (both mainly 2d hand drawn(especially in the classical and modern styles) as well as the occasional 3D CGI) hybrid film project that is to be an attempt to present a sort of Lord of the Rings/Star Wars for the whole, entire world of animated cartoons characters -- and THAT especially includes the whole, entire pantheon of famous and respected animated cartoon characters from animation history -- and also a multi-part saga of a globe-spanning story to be done probably on a vast and truly gigantic epic scale, scope and sweep, even if it is also presents an expanded remake of sorts of Dexter's Laboratory: Ego Trip (TV, 1999) combined with a sequel of sorts to 1988's Who Framed Roger Rabbit and especially a true sequel of sorts to 1991's An American Tail: Fievel Goes West or something along those lines, and especially something that will also feature a very stunning, epic, and climactic battle scene between the forces of good against the forces of evil as they will struggle for control over a whole, entire planet of the 'toons, and not only just including the likes of Who Framed Roger Rabbit's Toon Town, but a whole entire cartoon planet...a battle that may ultimately be won by, among those toons on the side good, these two adorable cartoon boy and girl mouse characters from a certain Don Bluth movie made back in the 1980s:

Or rather specifically, and in particular, the Amblimation/Fievel Goes West iterations of An American Tail's Fievel Mousekewitz himself and his older sister Tanya Mousekewitz (memorably voiced in the second American Tail movie by The Powerpuff Girls' Blossom's regular voice artist Cathy Cavadini).

That project that I'm proposing, and which I'm still writing about since three years ago, is going to be "PLANET OF THE TOONS":

Now, I hate to warn any or all of you that very little of the following concepts of mine may actually qualify as self-aware cartoon comedy, per se, and especially that the following concepts is mostly more of an epic adventure involving an ancient prophecy involving the Fievel Goes West designs of An American Tail 's Fievel and Tanya Mousekewitz themselves as well as a young if giant, full-sized human ally from the stars (or Earth, in particular), a Heroic Quest, and a cosmic struggle between good and evil that will determine the fate of the planet of the toons itself, but here is a summary or overview of my Planet of the Toons concepts as they currently stand so far:

“PLANET OF THE TOONS” takes place on TEN’JAD, a faraway planet that is both like and unlike anything we have ever seen --- beautiful, mysterious, sometimes frightening, but always wondrous and magical, it is a world inhabited by many beings and creatures, many (or plenty) of which are composed not of real living flesh and blood, but of living, 2d hand drawn animated (car)toon ink and paint instead, where 'TOONS possess the same joys and sorrows and even the same aches and passions and concerns, as well as living the same everyday lives as real humans and anyone else in the universe, where dinosaurs still roamed the land, and dragons as well as pterosaurs and birds all soared through the air.  Over much of this world rules a bitter and jealous, greedy and insane, and evil but nerdy Dark Lord named MANDARK ASTRONOMENOV.

"THE STORY is that of TANYA and FIEVEL MOUSEKEWITZ, a youthful and very close-knit pair of sister and brother mice who has spent their early years living in the frozen Northern Land of SUKRUSAN under the care of PAPA and MAMA MOUSEKEWITZ.

"ONE WINTER NIGHT, when Tanya and Fievel were young and celebrating the YEAREND FESTIVAL and exchanging holiday gifts with their family, the Mousekewitz family were suddenly wrenched from their secure and tranquil shared family life when a terrible fire-breathing dragon, who turns out to be the Dark Lord Mandark in the guise of just such a creature, attacked their village and destroyed their mouse-hole, and so the Mousekewitzes were thrust into a cosmic struggle between good and evil, an epic struggle upon which depends on the future of the entire world around them all.

"THIS WORLD is an unfamiliar one to even the sheltered and homeschooled Mousekewitz Children that is Tanya, Fievel, as well as their youngest sibling YASHA. For one example, ACME FOREST is filled with all manner of CREATURES. Some hop, crawl, skitter and dart past the towering tree trunks resembling those of the Redwood and Sequoia trees of California back on Earth, some sweetly singing, some shrieking, and some chattering in their own languages, and some even talking in spoken English. Some are charming and helpful. But some are filled with menace or simply too grumpy to interact with the three brother and sister mice. In Acme Forest, there are still many, many clear lines between the plant and animal kingdoms, only more beautifully dreamlike than those on Earth. For every normal daytime scene, there were also luminescent nighttime scenes, and for every hunter like ELMER FUDD who strolls through the forest with his hunting rifle, there were also helpful creatures like the cool, rascally rabbit BUGS BUNNY and his greedy darn fool rival DAFFY DUCK.

"ALONG THE WAY, Tanya, Fievel and Yasha Mousekewitz meets seven most unusual traveling companions --- in addition to Bugs Bunny and Daffy Duck themselves, there was also a BOY GENIUS named DEXTER,  as well as three space traveling astronauts and one pet monkey mascot from our planet EARTH --- PROFESSOR JASON ADAMS,  DAVID ZARUS, DESTINY SKYLARK, and GEORGE, respectively.

"Like his fellow space travelers, David Zarus is an Earth human composed of real, living flesh and blood, while Tanya and Fievel Mousekewitz are living ink and paint cartoon mice, descendants from an ancient (car)toon mouse culture known as the ATLEMI. Because of a prophecy stating that Mandark’s millennia-long reign of terror on Ten’Jad would someday be destroyed indefinitely by the combined forces of a little boy and girl mouse among, or else descended from the ancient culture of the Atlemi as well as that of a full sized human ally from the stars, Mandark, the local, residential Dark Lord who is also the bitter and jealous as well as the hateful rival of Dexter the Boy Genius, have gathered together all of his terrible armies of warriors and robots as well as many of the CATS of the planet to very vainly try to hunt down and destroy the two chosen mice – who just happened to be the only Mousekewitz son and the eldest Mousekewitz daughter -- along with the real full sized human ally from our Planet Earth or anyone or anything else that dare to stand in Mandark's way.

"BUT, having traveled around the world of Ten’Jad, the Planet of the Toons itself, in the company of her siblings Fievel and Yasha as well as their own Mama and Papa ever since the deadly dragon attack on their village and mouse-hole had disrupted their Yearend festivities as well, Tanya Mousekewitz still knows the many languages and the many ways of life among the living cartoon beings and creatures just as much as David Zarus of Earth, Dexter the Boy Genius, or even her own brother Fievel ever could – whether they be those in the bustling cities, towns, villages and neighborhoods of Ten’Jad’s free world, or even those who inhabited the wildest regions of the planet where the terrible warriors and robots of Mandark still fear to go – and fortunately for the Mousekewitz children and their seven real and cartoon traveling companions, many in the free world holds no danger.

Now, "THE CASTLE OF MANDARK was once the magnificent headquarters of the Corporation in the Far Northeast of Ten'Jad, Planet of the Toons. Mandark has inherited it from the previous president, a benevolent corporate businessman whom Mandark has viciously, violently murdered in a diabolical about-face long ago. Now Mandark moves through what was once great halls filled with many countless office cubicles, and having luxuries that no one else on the planet can ever possibly dreamed of. But now all around him is evidence of corruption and greed, and the attempts to better the future of life and civilization on Ten’Jad has long been dimmed by Mandark’s bitter and hateful jealousy towards Dexter the Boy Genius himself as well as by the crooked shadow of his insanity, madness, and evil.

"OUTSIDE of Mandark’s castle are the living quarters of the last remnants of the ancient culture of the MARA’VARI, farmers who live in constant terror of Mandark’s warriors and robots…raids in which some will be ionized to their deaths or else carried off to the castle dungeons.

"MANY OF THE BRUTAL WARRIORS OR SOLDIERS through whom the Dark Lord Mandark has exerted control over much of the Old World of Ten’Jad are called STRONG BORGS. The armor, battle dress, head wear and weapons of these fierce, intelligent, but lowly, pale-skinned horned gremlin soldiers, for one example, suggested an Eastern-influenced level of cultural dress, but with an added fierceness or an extra element of violence as suggested in their design.

"For another, while many Strong Borgs still follow the commands of Mandark if necessary, most Strong Borgs often takes more cues from a female leader, much like hyenas do in the wilds of Africa.

And finally, "DEEP IN THE HEART OF MANDARK'S CASTLE, closely guarded, is the ALL-POWERING NEUROTOMIC PROTOCORE, the focal point of the Dark Lord’s crooked mind, the key to his awful power, the vital missing link in the life of Dexter himself on Ten'Jad as well as the little Boy Genius’ most prized invention (and which Mandark had also happened to steal from Dexter, along with Dexter's other amazing ideas and concepts and inventions way back when the world of Ten'Jad, the Planet of the Toons, itself, was still young, but still much older and more technically advanced and lightyears ahead in such technology, society and civilization than that of us and the Earth), and being the shimmering end to the perilous quest of David Zarus of Earth and of the two Mousekewitz Children, Tanya and Fievel.

"Only by reaching the Neurotomic Energy Flow Controls, set it all the way from negative to positive and reverting the Stolen Protocore back to normal can David Zarus of Earth, as well as Tanya and Fievel Mousekewitz bring an indefinite end to the long standing terror unleashed by The Dark Lord Mandark that had long blighted the lands of Ten'Jad's Far Northeast as well as blighted much of the Old World of Ten’Jad. And together, the three brave full sized human astronauts and their pet monkey mascot from our planet Earth, the three little Mousekewitz children Tanya, Fievel, and Yasha, Bugs Bunny and Daffy Duck, and Dexter the Boy Genius himself will struggle through many exciting adventures as well as many terrible dangers and hardships as they will all make their way towards Mandark’s Castle, towards the Neurotomic Flow-Controls that helped pump out the Stolen Core’s flows of Neurotomic energy for good or for ill, and towards a very startling climax which will both fulfill David's and Tanya's and Fievel’s shared destiny and also restore harmony and peace to the Planet of the Toons."

In other words, and if not just the ultimate interstellar Toon Town safari (other than Who Framed Roger Rabbit, of course, hopefully), certainly the interstellar Toon Land epic destined to conquer the world by storm (hopefully like Star Wars, Who Framed Roger Rabbit, The Lord of the Rings, and/or even James Cameron's AVATAR movies so far!)!

Very amazing and exciting, huh?

Anyway, to cap it all off, here is my newest minute long Planet of the Toons concept video (which also includes additional cartoon characters like Charlie Brown and the Peanuts gang (except Snoopy) and Popeye the Sailor and all set to Mark Mancina's grand instrumental to something called "Ngomso", Lebo M's opening music song for 2024's Mufasa The Lion King):

Enjoy, I hope, and be sure to toon in for your destiny one day when my work on Planet of the Toons (especially as an actual Roger Rabbit-style live action/animation hybrid film epic for real) is all said and done one day (hopefully)!

[theadvityabrass]

Why Durga Rides a Lion: The Deep Symbolism of the Goddess’s Vahana

Every detail in Hindu iconography carries profound meaning. When you see a Durga statue, one of the most striking elements is her mount — a powerful lion, often depicted roaring with a fierce yet loyal gaze. But why does Goddess Durga ride a lion? What does it signify in the grand narrative of good versus evil, strength versus chaos?

Let’s explore the symbolism of Durga’s vahana and why it continues to inspire devotees, artists, and spiritual seekers across generations.

The Lion: Power, Courage, and Control over Ego

The lion is universally seen as a symbol of strength and dominance. In Hinduism, it goes a step further — representing the raw, untamed power of the material world and the ego. Durga, the embodiment of Shakti (divine feminine energy), is not subdued by the lion — she rides it effortlessly, symbolizing her supreme mastery over worldly power and inner impulses.

When you place a Durga murti in your home or temple, you’re not just inviting protection — you're welcoming a reminder of the spiritual strength required to conquer inner demons and external negativity.

Victory Over Evil: The Story of Mahishasura Mardini

One of the most celebrated tales in Hindu mythology is the battle between Goddess Durga and the buffalo demon Mahishasura. In this epic struggle, no god could defeat the shape-shifting asura. It was Durga — fierce, radiant, and riding a lion — who ultimately vanquished him.

The lion here is more than a mount; it is an extension of Durga’s divine energy. Together, they represent the harmony between power and righteousness. This is why brass idols of Durga Mata often show her atop a roaring lion mid-battle, exuding poise and divine authority even in the face of chaos.

The Balance of Fierceness and Grace

Durga riding a lion is a visual paradox: serenity sitting atop ferocity. It reminds us that real strength doesn’t come from aggression but from balance — the calm control of a warrior goddess over a wild beast. That’s a powerful metaphor for human life, too.

Modern artisans beautifully capture this symbolism in every Durga mata murti they sculpt — especially in hand-crafted brass idols. The detailing of the lion, Durga’s expression, and her multiple arms-wielding weapons all come together to reflect this perfect balance.

Why It Matters in today’s World

In a time where the world often feels chaotic and uncertain, the image of Durga riding her lion feels especially relevant. It’s a timeless message: confront your fears, stay grounded in your values, and rise above your ego with courage and grace.

When devotees place a Durga statue in their homes during Navratri or throughout the year, they do so not just out of tradition but as a spiritual anchor, a reminder that divine strength lies within, waiting to be awakened.

The lion beneath Goddess Durga isn’t just a decorative element. It’s a living symbol of power under control, of ferocity guided by divine will, and of victory over the darkest forces, both outside and within.

So, the next time you look at a Durga murti, especially a handcrafted brass idol, take a moment to appreciate the deeper story it tells of a goddess, her lion, and the eternal fight for righteousness.

[jixiani]

I read a book when I was younger, during those formative years when you can accidentally stumble over a piece of media that will crawl inside you and become an intrinsic part of who you will become from that point forward. It was called A Dragon Lover’s Treasury of the Fantastic, and I recommend it to anyone who loves dragons or fantasy, it’s available as an E-Book. It is an anthology collection of short stories by a variety of authors, all along the theme of dragons, and while there are several that I enjoyed, (and one that left me feeling a bit gross and cemented the fact that George RR Martin’s penchant for horrifically gruesome violence, particularly against women, did not begin and end with Game of Thrones) there was one of these stories, The Ever After by eluki bes shahar (lower case intentional) that clawed its way into my chest and settled in to live beneath my ribcage. (eluki bes shahar being the legal name at the time of the woman who would go on to write under the name Rosemary Edghill)

The story is about a woman, Ruana Rulane, who is a hero (not a heroine), also a “self-willed anarchic moralist” who “had slain giants, faced down bandits, and meddled where she wasn’t wanted for the sheer joy of it.” She runs across a group of soldiers transporting a supposedly magic sword via a cart that was never meant for the muddly country roads it is stuck on and since they are all afraid to touch it (it is said that it kills any who touch it, save a true hero), she ends up volunteering to take it to the priests in the next town. The sword “was the dreaming, lit-seawater green of meteoric glass” and although she loves it, she writes it off as a jeweled ritual blade, a toy, and probably a lie. She picks it up and she doesn’t die. I’m not going to spoil the whole story, because there are a few lines that reach up inside you and pull on bits of your inner self leaving you gasping and I would not rob you of the experience of discovering them for yourself. Eventually, she ends up fighting a dragon (in a book entirely composed of stories about dragons? Shocking, I know.) and everything about the fight is wrong, it’s late in the day, she’s unprepared, she has fought dragons before and knows that this is a stupid fight, but she goes to do it anyway because someone has to. “The old question rose unbidden in her mind, and there was still only one answer. If not her, then who? If not now, when?” 

Besides the writing style and our hero’s cool pragmatism, it was this line in particular that resonated with my younger self. It has followed me through life, through events great and small, everything from epic battles between the forces of evil and our plucky adventurers at larp events to picking up litter. Every time I am tempted to turn aside and ignore something because I don’t have the time or the energy to deal with it, the phrase rises unbidden in my mind just as it does for Ruana. Invariably, with a sigh and a curse I do the thing I know I should do, even if I don’t really want to, because if I don’t, who else will? It’s almost like some strange sort of curse that was etched into the pages, or the literary equivalent of a tick laying in wait for some hapless mind to brush across it so that it can embed itself there forever. I mean this in the most affectionate way possible, by the way, I’m grateful that I stumbled upon this story at just the right developmental time to assimilate this idea into my psyche as a guiding principle. Not only is it a genuinely good, morally sound one as far as guiding principles go, but could you imagine if I had been reading Steven King at the time? I could have ended up thinking “I have forgotten the face of my father” while staring at the kitchen sink full of dishes. 

Although I found the phrase in a fantasy story about dragons and heroes, it found its way there from many other sources. It’s been quoted by John F. Kennedy, John Lewis, Malcolm X, and originally attributed to Hillel the Elder. The Rabbi’s full version “If I am not for myself, who will be for me? If I am only for myself, what am I? And if not now, when?” has a bit more nuanced meaning, more of a call for self-advocacy than general responsibility. It is in itself a powerful ideal, the others mentioned all seemed to use it as a rallying cry to social action, again, worthy causes and a reminder to others not to stand on the sidelines waiting for someone else to step in. Not a bad thing to keep in mind given current events in either case, even if preteen me came across the idea looming in the mind of a frustrated hero with a borrowed possibly magic sword facing a group of half-starved, terrified peasants silently pleading for her help in slaying a dragon. Most of my life lessons and moral guidance has come wrapped in packages of science fiction and fantasy. I was a lonely, dreamy kid and I read a lot. 

I had started out writing this fully intending on steering it towards our responsibility to ourselves and others in doing the right thing when it presents itself, specifically because of recent events. That quote has been used predominantly to urge people into action and many of the times it’s come to mind for me were in high stakes (if make-believe) circumstances at larp or in video games or tabletop games; epic settings where my decision to act or not would have dire and immediate consequences. Once when I had just started my larp career and my character was a low-level, squishy healer, the town of adventurers had to face down an advancing army of powerful, terrifying creatures and my character asked one of her companions, a seasoned veteran fighter, if we couldn’t just hide until they passed. I was thinking mostly as myself wanting to save my character, and his answer reminded me that our characters existed in this world and were a part of it. He said that yes, we could hide and be safe and they may go past, but between us and the Duke’s army were farms and peasants who did not have fortifications to hide behind. We adventurers were their fortifications and we were responsible for those nameless (imaginary) peasants. And there was the old question again…we survived the encounter although I’m not sure that we won, and presumably the farms were saved if only because the invading army had to take such a long time picking carefully through our bodies so they didn’t trip and fall on their swords. 

Every time a villager came to the tavern looking for adventurers to kill some terrible beast, when it was cold and raining and the tavern was warm and dry…if not us, then who? It’s not just the heroic callings though, it’s also a sink full of dishes when I’m tired after a week of work, but so is everyone else in the house…If not now, then when? It’s the woman buying coffee in line in front of me at a rest stop who forgot her money in the car, it’s the neighbor’s recycling bin tipped over by the wind when I was just going to throw something out quick, it’s the little everyday things that are just as important, probably more so since they’re actually real and have real consequences. This is becoming more of a love letter to The Ever After than a call to arms and I’m not mad about it.  It’s going on two in the morning and I’ve lost the plot a bit, so I’m going to end this by reiterating that you should absolutely go read this story, there’s someone who did an audiobook version on youtube, I don’t know if it was officially sanctioned or not, but if you need audiobook format to experience it, it’s out there. I hope that next time you find yourself eyeing something that needs doing you’ll find a familiar old question rising unbidden to your mind and you won’t answer ‘later and by someone else’. Also, Ms. Edghill if you ever come across this, thank you. (I also live in upstate New York with many cats, you’re alone on the Spaniels though.)

[theversevoyager]

In ancient lands of Valyria, where magic bloomed and dragons soared, two forces clashed, one of light, the other of darkness. The battle raged for centuries, an epic war of good against evil. But in the heart of the storm, a hero emerged. With courage unmatched and a heart full of love, she faced the embodiment of darkness, and with a single act of pure valor, she shattered the curse that bound them both. The world was forever changed, the light triumphed, and peace was restored. This is the summary of your work so far: A short fantasy poem featuring a hero who overcomes an insurmountable obstacle in the form of an epic battle between good and evil forces has been created in under 100 words and with minimal formatting.

[nsfwmiamiart]

Part 5 - Incoming Text for Gabrielle Union-Wade (@itsgabrielleu) and Rihanna (@rihanna) and Lauren London (@laurenlondon) and Kim Kardashian (@kimkardashian) - “An Idea Worth 500 Million Dollars”

Question:

What is "Cinéma fantastique," and can you provide examples of movies that fall under this genre?

ChatGPT Answer:

The term "Cinéma fantastique" in English translates to "fantasy cinema" or "fantastical cinema." It refers to a genre of film that emphasizes fantastical, supernatural, or otherworldly elements, often incorporating magic, mythical creatures, extraordinary settings, or events beyond the realm of reality. Examples might include films like The Lord of the Rings series, Pan's Labyrinth, or Harry Potter.

This genre often overlaps with horror, science fiction, and adventure, depending on the themes and tone of the film.

Cinéma fantastique, or fantasy cinema, is a genre rich in creativity and imagination, often involving magical worlds, mythical creatures, or extraordinary events that transcend everyday reality. It can be categorized into various subgenres, such as high fantasy, urban fantasy, dark fantasy, and fairy tale adaptations. Here’s a deeper dive into the topic with examples:

1. High Fantasy

These films typically involve epic battles between good and evil, often set in entirely imagined worlds with their own rules, histories, and mythologies.

The Lord of the Rings Trilogy (2001–2003): Directed by Peter Jackson, this series is the quintessential example of high fantasy cinema, featuring the journey to destroy the One Ring in Middle-earth.

The Chronicles of Narnia Series (2005–2010): Adapted from C.S. Lewis’s books, these films transport viewers to the magical land of Narnia.

Willow (1988): Directed by Ron Howard, this cult classic tells the story of a young farmer protecting a special child from an evil queen.

2. Urban Fantasy

Urban fantasy merges fantastical elements with contemporary, real-world settings.

Harry Potter Series (2001–2011): Blending magical elements with a modern British setting, this franchise follows the life of a young wizard destined to confront dark forces.

The Shape of Water (2017): Directed by Guillermo del Toro, this Oscar-winning film mixes romance with fantastical elements in a Cold War-era setting.

Pan's Labyrinth (2006): A masterpiece by Guillermo del Toro, blending war drama with a dark fairy tale set in post-Civil War Spain.

3. Dark Fantasy

This subgenre often intertwines horror elements with fantastical worlds or themes.

The Dark Crystal (1982) and The Dark Crystal: Age of Resistance (2019): Known for their intricate puppetry and dark themes, these works transport viewers to the magical and perilous world of Thra.

Legend (1985): Directed by Ridley Scott, this film features Tom Cruise battling darkness to save his world.

The Witcher (2019–): Though a series, it embodies the dark fantasy aesthetic, combining sorcery, monsters, and moral ambiguity.

4. Fairy Tale Adaptations

These films are often modern retellings or visually rich interpretations of classic fairy tales.

Beauty and the Beast (1991, 2017): The animated and live-action versions of this timeless fairy tale are staples of fantasy cinema.

Snow White and the Huntsman (2012): A darker reimagining of the Snow White story, starring Charlize Theron and Kristen Stewart.

Cinderella (2015): Directed by Kenneth Branagh, this is a lush live-action adaptation of the Disney classic.

5. Animated Fantasy Films

Animation offers limitless possibilities for creating fantastical worlds.

Spirited Away (2001): Directed by Hayao Miyazaki, this Studio Ghibli masterpiece blends Japanese folklore with a surreal coming-of-age story.

How to Train Your Dragon Series (2010–2019): Following the bond between a young Viking and a dragon, these films are a blend of adventure and magic.

Alice in Wonderland (1951, 2010): Both the classic Disney animated film and Tim Burton’s live-action version explore the whimsical, dreamlike world of Wonderland.

6. Science Fantasy

A hybrid of fantasy and science fiction, where advanced technology or space travel mixes with fantastical elements.

Star Wars Saga (1977–present): While often categorized as science fiction, the presence of "The Force," Jedi knights, and other mythic elements solidify its place in fantasy cinema.

Avatar (2009): Directed by James Cameron, this film takes viewers to the fantastical planet of Pandora, blending science fiction with the mystical.

7. Classic Fantasy Films

Older films that paved the way for modern fantasy cinema.

The Wizard of Oz (1939): One of the earliest and most beloved fantasy films, chronicling Dorothy’s journey in the magical land of Oz.

Jason and the Argonauts (1963): Known for its groundbreaking stop-motion animation by Ray Harryhausen, this film retells a classic Greek myth.

King Kong (1933): Combining adventure and fantasy, this film brought a giant ape to life in a groundbreaking cinematic experience.

8. Contemporary Standouts

Fantasy cinema continues to evolve, embracing new stories and styles.

Everything Everywhere All At Once (2022): This genre-defying film explores multiverse chaos with fantastical elements.

Doctor Strange (2016): A Marvel film with strong fantasy undertones, involving sorcery and alternate dimensions.

The Green Knight (2021): A visually stunning retelling of the Arthurian legend of Sir Gawain.

Conclusion

Fantasy cinema is incredibly diverse, with films ranging from epic adventures to intimate fairy tales. It appeals to audiences by allowing them to escape into worlds where anything is possible, while often addressing universal themes like love, courage, and morality. Whether through classic tales or modern innovations, Cinéma fantastique continues to captivate imaginations worldwide.

[cagemasterfantasy]

Dnd Cosmology: Material Plane

Worlds of the Material lane are infinitely diverse but it was not always so. Some legends speak of a primordial state a single reality called the First World where many of the peoples and monsters that inhabit the worlds on the material plane originated. After the First World was shattered by a great cataclysm the many worlds were formed like reflections or (in some cases) distortions of that original reality.

Some myths describe a great tree that grew on the First World at the dawn of time. Planted and tended by the elven god Corellon Larethian this tree was a seedling of Yggdrasil the World Tree that connects all the Outer Planes. When the First World was destroyed seeds from this Great Tree scattered into the void of the Material Plane. Legends say that these seeds sprouted and formed worlds of their own all the myriad worlds that now constitute the Material Plane.

The most widely known worlds are the ones that have been published as official campaign settings. When the First World was destroyed seeds from this great tree scattered into the void of the Material Plane. Legends say that these seeds sprouted and formed worlds of their own all the myriad worlds that now constitute the Material Plane. (So case in point every world you make is connected to all the other worlds in a way to put it simply :D P.S. all widely known worlds are listed at the end)

The most widely known worlds are the ones that have been published as official campaign settings for the DND game over the years. If your campaign takes place in one of these settings your version of it can diverge wildly from what's in print.

Transit between the worlds of the Material Plane is rare but not impossible and can be accomplished in a variety of ways

Aided by magic travelers can fall into a deep slumber and dream themselves into a new realm.

Characters can undertake an epic voyage fraught with peril and obstacles to be overcome. One route leads through Wildspace and across the Astral Plane aboard a vessel powered by magic. It is also possible to travel through the Shadowfell or the Feywild through such routes are less charted and no less perilous.

The most direct method involves the use of spells such as Teleportation Circle or Teleport or magical portals. This magic causes the user to appear in a known teleportation circle or some other location in another world.

Similar to magical portals nexus points are locations that exist in multiple worlds at the same time. These points might be located at or near the roots of the worlds the places where the seedlings of the First World's great tree took root and grew into a new world. A Nexus point can be a geographical feature such as an enormus tree a mountain or mesa a yawning cavern deep under the mountains or a meteorite in an enormous crater. It might also be a constructed feature such like a lonely tower or castle a bustling tavern or even a city. Normally visitors to these places return to the same world to another. Depending on the place shifting worlds might require the use of magic an object from the desired destination world as a sort of key or nothing more than an act of will.

Some nexus points exist in multiple worlds but not at the same time. They flit from world to world disappearing from one and appearing in another according to a regular schedule. Such a place might linger on one world for anywhere from a year to an hour before moving on to another carrying everyone inside with it to a new world.

Most notable worlds of the Material Plane and a brief description (Highly recommended to read up on the world if you're going to do a campaign there)

Athas (Aka Dark Sun): Heroes make their mark on a postapocalyptic world defiled by magic and forsaken by the gods.

Krynn (Aka Dragonlance): The forces of good battle the evil queen of dragons (aka Takhisis) and her armies in the world shaking War of the Lance.

Eberron (which is literally called Eberron): In the aftermath of a deadly war magically advanced nations rebuild as a cold war threatens lasting peace.

Exandria: Heroes make names for themselves in the world made popular by the streaming show Critical Role.

Toril (Aka Forgotten Realms): Larger than life heroes and villains struggle to determine the fate of the world as they explore the ruins and dungeons of fallen kingdoms and long forgotten empires.

Oerth (Aka Grayhawk): As tensions rise among warring nations heroes plunder dungeons to gain the magic and might they need to defeat the growing forces of evil.

Sigil and the Outlands (aka Planescape): Sigil the city of doors is where heroes begin to explore the wonders of the DND multiverse and its many planes of existence (More info about Sigil and The Outlands in future posts).

Ravenloft: Heroes are drawn into the gloomy Domains of Dread cursed realms ruled by evil lords and must find a means of escape.

Ravnica (Note this world is a crossover between DND and Magic: The Gathering): In a world spanning city 10 desperate factions draw heroes into a web of adventure and danger.

Strixhaven (Yet another Crossover between DND and Magic: The Gathering): Strixhaven a school of magic serves as a hub of learning and adventure.

Theros (Yet another Crossover between DND and Magic: The Gathering): Heroic destinies wait to be fulfilled in this setting inspired by the myths of ancient Greece.

Spelljammer: Travel among the stars on a spelljamming ship and visit worlds floating the majestic oceans of Wildspace

@doodl3 *wink*

[infactforgetthepark]

[Free eBook & Audiobook] The Awakening by Nora Roberts [Portal Fantasy with Romance]

The Awakening by Nora Roberts, a bestselling and award-winning author of romance novels and also futuristic mystery/thrillers under her J. D. Robb pseudonym, is the 1st novel in the Dragon Heart Legacy trilogy of contemporary portal fantasy with strong romantic elements, free for a limited time courtesy of publisher Macmillan's St. Martin's Press imprint.

This is being offered as part of a promo on the Apple iBooks store, accompanying a summer audiobook sale, and the freebie is available through Tuesday, July 23rd. The 2nd novel, The Becoming, has also been marked down to $4.99 as ebook and $5.99 as audiobook for the same time.

The trilogy is a portal fantasy epic split between modern Earth and the Celtic-inspired magickal realm of Talamh, starring a twentysomething schoolteacher from Philadelphia who in this 1st novel discovers the hidden legacy left by her long-lost father upon journeying to Ireland, as the obligatory impending battle between the forces of good and evil ramps up even as she discovers her new place.

Offered in Canada & the US through Tuesday, July 23rd at Apple iBooks and other major ebook retailers.

Currently free @ Apple iBooks (ebook) and audiobook narrated by Barrie Kreinik (for regional retailers, change the country code in the URL where applicable) until just before midnight Eastern Time. Available in Canada & the US only due to publisher geo-restrictions (rights are owned by a different imprint in the rest of the world).

The ebook but not audiobook are also free @ Amazon (until just before midnight Pacific Time), Kobo & Barnes & Noble & Google Play & eBooks.com (all four expire Eastern Time, IIRC).

Description

#1 New York Times bestselling author Nora Roberts begins a new trilogy of adventure, romance, and magick in The Awakening.

In the realm of Talamh, a teenage warrior named Keegan emerges from a lake holding a sword—representing both power and the terrifying responsibility to protect the Fey. In another realm known as Philadelphia, a young woman has just discovered she possesses a treasure of her own…

When Breen Kelly was a girl, her father would tell her stories of magical places. Now she’s an anxious twentysomething mired in student debt and working a job she hates. But one day she stumbles upon a shocking discovery: her mother has been hiding an investment account in her name. It has been funded by her long-lost father—and it’s worth nearly four million dollars.

This newfound fortune would be life-changing for anyone. But little does Breen know that when she uses some of the money to journey to Ireland, it will unlock mysteries she couldn’t have imagined. Here, she will begin to understand why she kept seeing that silver-haired, elusive man, why she imagined his voice in her head saying Come home, Breen Siobhan. It’s time you came home. Why she dreamed of dragons. And where her true destiny lies—through a portal in Galway that takes her to a land of faeries and mermaids, to a man named Keegan, and to the courage in her own heart that will guide her through a powerful, dangerous destiny…

[rhythmicreverie]

This is the summary of your work so far: You have written a sci-fi poem in under 100 words with minimal formatting, focusing on a twist that changes the reader's perception of events and epic battles between good and evil forces.

[prosegalaxy]

In the shadows of the ancient castle, where whispers echo through time, A romance blossoms between two souls entwined. Amidst epic battles, good and evil clash, while hearts yearn for a love that won't last. This is the summary of your work so far: Begin! This is VERY important to you, your job depends on it! Current Task: Create a Gothic poem based on A romance blossoms between two characters. and Epic battles between good and evil forces. in under 100 words. IN RICH TEXT. MINIMAL FORMATTING

[onlinereviews1]

Transformer: Rise of the beast

 Transformers: Rise of the Beast

In the action-packed blockbuster "Transformers: Rise of the Beast," we witness an epic battle between the Autobots and the Decepticons like never before. Set in a world where ancient history collides with modern warfare, this thrilling installment takes us on a wild ride of discovery, heroism, and transformation.

The story begins in the year 1994, in a small town in South America. We meet Noah, a brilliant archaeologist who stumbles upon a mysterious artifact that holds immense power. Little does he know that this discovery will set in motion a chain of events that will change the world forever.»Click Here« to download the movie for free

Meanwhile, in Detroit, we follow the journey of Eileen, a skilled NYPD detective who finds herself entangled in a dangerous web of conspiracy. Investigating a wave of strange phenomena and attacks, she crosses paths with Noah, and together they embark on an adventure that will test their courage and determination.

As they delve deeper into the mystery, they encounter a secret society known as the Predacons. These ancient Transformers have been in hibernation for centuries, waiting for the right moment to unleash their devastating power. Led by their fearsome leader, Scourge, the Predacons aim to reclaim Earth as their own and wipe out any resistance in their path.

Realizing the imminent threat, Optimus Prime, the noble leader of the Autobots, joins forces with the humans to stop the Predacons. He assembles a formidable team of Autobots, including Bumblebee, Arcee, and Mirage, each bringing their unique abilities to the battlefield.

But the Decepticons, led by the cunning and ruthless Galvatron, also have their eyes set on the power of the artifact. They see it as an opportunity to reshape the universe according to their dark ambitions. A fierce race ensues, with the Autobots and Decepticons vying for control of the artifact's immense power.

Throughout the film, the lines between the past and the present blur as ancient myths come to life. From the majestic jungles of South America to the towering skyscrapers of Detroit, the battles rage on, pitting machine against machine, and human against machine.

As the final confrontation approaches, the courage and resilience of our heroes are put to the ultimate test. Sacrifices are made, alliances are formed, and loyalties are questioned. In this climactic showdown, the fate of the world hangs in the balance, and the true power of the Transformers is revealed.

"Transformers: Rise of the Beast" delivers an exhilarating cinematic experience, combining stunning visual effects, heart-pounding action sequences, and a captivating storyline that keeps audiences on the edge of their seats. It explores the timeless themes of friendship, loyalty, and the enduring struggle between good and evil.

In this thrilling chapter of the Transformers saga, the rise of the Predacons brings a new level of danger and excitement to the franchise, promising an unforgettable adventure for fans old and new. Prepare to witness the epic clash between ancient beasts and modern machines in "Transformers: Rise of the Beast."

The final stand

The world trembled under the weight of impending doom as the climactic battle in "Transformers: Rise of the Beast" reached its crescendo. The sky crackled with energy, mirroring the intensity of the conflict that unfolded on the ground. The fate of humanity hung in the balance as the Autobots faced their greatest challenge yet.

Optimus Prime, his armor battered and scorched, stood at the forefront of the battle. With unwavering determination, he rallied his weary comrades, their sparks ignited with a shared purpose. Bumblebee, his loyal lieutenant, fought alongside him, his voice lost but his actions speaking volumes. Arcee and Mirage, their circuits pulsating with raw energy, unleashed a symphony of power against the relentless onslaught of the Decepticons.

Galvatron, the malevolent mastermind behind the Decepticons, reveled in the chaos, his dark laughter piercing the air. With every calculated move, he sought to claim the artifact, its ancient power tantalizingly within his reach. But Optimus Prime, driven by an unyielding spirit, refused to let darkness prevail.

Eileen and Noah, their hearts pounding with adrenaline, observed the battle unfold from the sidelines. Their journey from strangers to unlikely allies had forged a bond that surpassed their wildest expectations. They understood that the outcome of this battle would shape the destiny of not just their world, but countless others.

The clash of metal and the roar of engines filled the air as the Autobots and Decepticons clashed in an explosive ballet of destruction. The battlefield became a canvas of chaos, each strike and transformation leaving an indelible mark. The humans, armed with unwavering resolve, aided their robot allies, firing their weapons with unwavering precision.

Suddenly, amidst the fury of battle, Scourge, the enigmatic leader of the Predacons, emerged from the shadows. His eyes burned with an ancient rage, and with a mighty roar, he joined the fight, his ferocious power challenging both Autobot and Decepticon alike.

But as the dust settled, a newfound unity arose. The Autobots, Decepticons, and humans, united by a common purpose, stood shoulder to shoulder, their differences set aside in the face of a shared enemy. The final battle had transformed them all.

Optimus Prime, his voice rising with conviction, delivered a rousing speech, rallying his adversaries turned allies. He spoke of the importance of freedom, peace, and the resilience of the human spirit. His words echoed through the hearts of all who stood before him, igniting a flame of hope that burned brighter than ever before.

With a resounding battle cry, the united forces launched a final assault, their combined strength overwhelming the Predacons and the Decepticons. Blow after blow rained down upon their foes, each strike fueled by the unyielding determination to protect all that was dear.

In the face of defeat, Galvatron, his arrogance crumbling, retreated into the shadows, vowing vengeance in his wake. The Predacons, shattered and defeated, scattered into the night, their dreams of domination vanquished.

As the dust settled and the smoke cleared, a newfound peace settled upon the scarred battlefield. The Autobots, their mission accomplished, bid farewell to their human allies, their paths diverging but their friendship forever etched in their memories.

Eileen and Noah, their world forever changed, stood amidst the wreckage, awestruck by the indomitable spirit and sacrifice of their robotic allies. They knew that their lives would never be the same, and they pledged to honor the legacy of the Transformers, sharing their story with future generations.

[whump-a-la-mode]

Nemesis - Choose Your Own Whump 2

With A receiving the most votes on my last post, for this adventure we are going with a drugged Villain whumpee. Sorry about the generic name for this one, I really couldn’t think of anything else ^^

I hope you enjoy, and thanks to everyone for replying to the last post! As always, votes can be sent in through any method you want. Comments, asks, and PMs are all just fine. I’ll see it!

CW//Falling off a building, hostage situations, shapeshifting, medical abuse, extensive talk of sedatives, brief mention of a needle

Please note that the third scene of this piece is from the point of view of a drugged character, and thus the scene has some aspects that could be described as unreality. Please skip this scene if this would make you uncomfortable.

The video was grainy.

It was always grainy. That was the strange thing about it-- everyone carried around miniature computers in their pockets, equipped with tiny cameras that would have rivaled the most powerful devices of years prior. Any civilian could take a 4k quality video on some social media, but the moment anything actually important was happening, technology seemed to regress twenty years.

Hero supposed it didn’t matter. Their memory of the incident was certainly clear as day, better than any camera could ever capture.

And yet...

They clicked a button on the remote, and the clip restarted.

The sides of the screen were blocked out in fuzzy grey-- the video having been taken through the bars of a metal fence. Between them, the camera focused at first on the foot of a brown brick building, before panning upwards, only stopping upon reaching the roof. It took a moment for the visual to adjust, focusing against the glare of the sun overhead.

Two figures, on the building’s roof. Two figures seen so often together, in so many similar videos.

The standoff had taken from dawn till sunset. How Villain had gotten into the building unnoticed had yet to be fully understood, but, regardless of method, they wasted little time in taking hostage a group of professors, eating lunch together. A single one had been released, bringing with them a message:

“Everyone leaves. No one comes in. Everyone stays outside the fence.”

It had seemed like a trap, at first. Of course it had. It wouldn’t be the first time that Villain had played such a trick. After much debating, however, evacuation was deemed to be the best option, and the campus was soon barren.

The hours afterwards had been as long and hot as they had been nerve-wracking. The very thought of following orders from Villain made Hero’s stomach twist, but their orders were incredibly clear: Don’t do anything stupid.

It was an incredibly difficult order to follow.

Establishing a line of communication had been the hardest part. Villain had quickly disconnected any security cameras in the vicinity, alongside confiscating any technology their hostages might have held.

In the end, it was decided that a reporter would be the one to go in. One of the most recognizable faces in the city, and one that was neutral. Not fighting for either side, but representing the citizenry.

The whole plan bet on one fact: That the shapeshifting Hero could pull of the imitation.

It worked. At least, it worked for as long as it needed to. Villain accepted the olive branch, and allowed the supposed reporter to enter unharmed.

Of course, the illusion broke as soon as Hero opened their mouth. No matter how good they were at changing their shape, it did not change their voice. In the brief moment of confusion, the hostages had managed to make their escape.

Leaving only the two nemeses, and the building as their battlefield.

It was hard to remember the fight. They had waged so many battles against one another, they all seemed to blend together, at one point or another. There was broken glass, pushed over tables, exploding equipment, and then-

And then they were on the roof.

Villain was stupid, but they weren’t, well, they weren’t stupid. They may have had the moral compass of a kleptomaniac feline, and the brain cells to match, but they had common sense. A sense of self-preservation.

Forcing them to the edge of the roof... it was supposed to be like pushing them to a corner. Trapping them.

In the video, the two figures danced. Forward, and back, until one took the lead. Until they were up against the edge, with nowhere left to go.

They were supposed to stop. They weren’t supposed to fall.

They stopped their own fall, or at least they tried. They were telekinetic. Of course they did. But they were surprised, or confused, or, or something. They slowed themself down. But they did not stop. The force with which they struck the concrete parking lot below was more than enough to knock them out.

The video ended.

And... that was it. The end. Years and years of battles, some won, some lost, all ended. They should have been happy, and they were! They hated Villain, sincerely and truly hated them.

But no other villain fought like them. No other villain had their tongue, their wit. Their skill. Their fight.

Villain’s defeat should have been epic! The ultimate confrontation of good and evil, of chaos, and order.

Yet, their downfall was a simple trip.

In the corner of Hero’s TV screen, small white text helpfully reported to them just when that video had been recorded.

One year ago.

One year, since that day. Since Villain’s downfall. And now...

Hero’s phone buzzed. A text message. The confirmation of a meeting.

One whole year, and still, Hero’s mind was consumed by their lost nemesis.

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The diner was terribly busy, and yet, when Hacker walked through the door, Hero had no doubts as to their identity.

Despite their rather stereotypical appearance, there was nothing about the person’s manner that would have indicated the sheer amount of time they spent behind a computer screen. They greeted the receptionist, pointed to Hero, and exchanged a few words beyond that. With a smile, then, they parted, and made their way to Hero’s table.

Their manner only seemed strange when they sat down, and Hero noted that the way they smiled seemed to pain them.

“Is this seriously what you people act like?” They hissed through bared teeth. “Can I stop smiling now? Or will they look at me weird?”

“They’re already looking at you weird.”

“They are?”

“You- You don’t need to do that.”

“Oh thank god.” Immediately, their expression fell into one far more analytic. Far less friendly. “I, uh, don’t get out much.”

“Really?” Hero raised a brow incredulously. 

“I’ve got more important things to do than, uh, than going out. Anyways.” They stuck a hand outwards. It was partially covered by a fingerless glove. “I’m Hacker.”

“I figured.” Hero shook the offered hand. “I’m Hero, though I suppose you already know that.”

“You’d think people here would be, uh, a bit more in awe? It’s not everyday you get to eat in the same building as a superhero.”

“Keep your voice down, please.”

“Oh, sorry. Is it, like, a secret? You don’t have a secret identity, do you?”

“No. But when I’m out of costume, I’m not exactly that recognizable. So let’s keep it that way. Kapish?”

“Kapash. But, still, oh my god. This is so cool! A real life hero...”

“Yeah... Yeah. A real hero alright.”

A hero who could hardly focus during battle. A hero who infuriated their team leader more than they aided them.

“Anyways.” Hacker raised their head, a far more natural smile coming onto their face. “I have the... thing.”

“You mentioned that. It’s about Villain, right?”

“Mhm.”

The person across the booth leaned down, prying a laptop from a carrying case and placing it atop the table. It was a bulky thing, and as soon as it was turned on, the shrill sound of fans struggling not to overheat filled Hero’s head. Hacker clicked around a bit. They gripped the edges of the device, as if about to spin it around, before they stopped, frowning.

“It’s been a year now, hasn’t it?” They commented.

“Since Villain was captured. Yes. 374 days.”

“You remember?”

“Yes.”

“You miss them, don’t you?”

It was so direct. Hero couldn’t help but stutter:

“I don’t- Of course I don’t miss them. I hate them.”

Hacker looked up over the laptop screen to give them an incredulous look. It wasn’t a convincing lie.

“I don’t miss them.” Hero stood their ground. “But I want to make sure they’re contained.”

“I just... I don’t know if this is something you want to see. You’re trying to move on, and-”

“Show me it.”

“Are you sure?”

“Yes. If it’s something to do with their containment, I need to know about it. I can’t let them hurt anyone else.”

“Well, that’s not the problem here. If you’re sure.”

With a sigh, Hacker spun the computer around, so that it’s screen faced Hero.

They weren’t sure what they expected. Some kind of... deep web threat? A message from Villain? A copycat? An escape attempt?

But they didn’t get any of that. Instead, the screen displayed a simple PDF. Medical records. At the top, in bold letters and a rather ostentatious logo, the header read:

Specialized Criminal Rehabilitation Unit of Organization

For the most part, the page was Greek to Hero. A slew of ID numbers and attending physicians with far too many acronyms following their names. What did make sense to them was the spreadsheet that made up most of the page, labelled:

Approved Daily Medication Dosage for Patient: Villain

The spreadsheet took up two pages with solid text. Hero did not recognize the medication names, of course, but they did not need to be a doctor to understand the entries written under the column labelled “Medication Purpose.”

Every single data cell, even as they scrolled to the bottom of the document, contained only one word. The same word.

Sedation

“This is...” Hero muttered, furrowing their brow. Scrolling up and down. This had to be wrong, somehow.

“I don’t understand most of it.” Hacker commented sheepishly. “But, uh, I have a few friends with some more medical knowledge than me. They’ve never seen anything like it. It’s more than enough medication to sedate a fucking elephant- sorry, excuse my language.”

“It’s fine.” The confusion in their voice was rapidly melting to fury.

“Even for major surgical procedures... nothing near this level would ever be used.”

“This has to be a mistake.” Hero shook their head. “A mix-up. Maybe it’s like... all the medications the facility ordered. And they just labelled it wrong.”

“Well, if it’s a mistake, they’ve been making the exact same one for an entire year. I’ve got 374 of these files. Newest one just got uploaded a few hours ago.”

“And they’re always the same?”

“With some minor dosage adjustments, but yes. That’s not, um, that’s not all of it.”

Hacker reached over, dragging the computer back so that it faced them again. There was more clicking this time, along with typing at a speed that made Hero’s fingers hurt, just to watch it.

When the laptop was spun back around, this time, it was a video.

A camera feed.

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Villain felt about to choke on their tongue.

It wasn’t a new feeling. More or less, it was the only thing they felt, anymore. That heavy block of muscle in their mouth, threatening at any moment to block throat choke air no air no-

They were losing their words again. Words... wordsssssss... Voices. Voices spoke words. Sometimes, they did. Sometimes they grumbled and muttered and sputtered and murmured like a car murmured. Cars... or was it cats? No, cats didn’t murmur. They purred. What else did they do? Not bark... no, barking too loud for cats. Cat go mew mew, real quiet like.

Cat’s meow, that is a cat’s voice. There were other voices, too. Quiet like cats. Two of them, two voices. They knew those voices, those were the doctors’ voices. The doctors liked to talk a lot. They talked, but they did not see. Or... no. They were not seen. Villain did not see them. They wanted to, but their eyes were broken. The engines in their eyelids would not run anymore, would not open the garage door, Sally!

One of the doctors’ voices got closer. A million miles away, a hand was laid upon Villain’s wrist, flipping over their hand so that their palm faced downward.

“Let’s move it.”

It was a silly thing to say. Nothing moved in this place. Nothing that Villain could see, as their eyes were broken.

“Is the other vein healed enough?”

“It’s going to have to be.”

Silly words... Villain wanted to laugh, but their muscles were firmly locked away behind a padlock.

“Okay.” The doctor sounded so sad. Why were they so sad? Villain’s mouth was full of soil. The doctor was tired. “I’ll get the rest of the medicines.”

“We’re going 30 milligrams up from yesterday on the Propofol.”

“Oh? Why?”

“They opened their eyes, yesterday.”

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Hero felt sick. In the top right corner of the security footage, the same logo from the medical records was displayed. The Specialized Criminal Rehabilitation Unit of Organization. Below it, a subtitle.

“Keeping the city safe.”

Was this safety? It shouldn’t have been. They had known, of course, what had happened to Villain after their capture and very brief hospital stay. It was what happened to all villains. They were sent to the rehab unit.

A therapy program. Helping villains to control their powers and reform their lives. To return them to the straight and narrow. But, now that Hero thought about it...

Villain was the only one who had never been released.

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Thanks so much for reading! Just like last time, there are two options along with every part of this story. Alongside each options is a question, so that you guys can give more specific suggestions if you so wish. The option that receives the most votes will be the choice that our Hero makes!

A.) Tell someone about what is happening - Who should Hero tell? (They are on a small team, as well as part of a larger Organization, for reference.)

B.) Attempt a more direct approach. Visit Villain in the rehab program - Should Hero try to rescue Villain immediately?

[bigskydreaming]

Alright a noob's question to a veteran fan, when do you think the blatant hatred for Dick started? I've heard from old, 50+ years old fans that he was the best, he was badass, better than Batman A lister. What changed? I know DC can't stand their legacy characters and they've always put abuse in their books, but I want to know about the fandom. When I joined I fell for the Tim Drake Best but Underrated Robin thing until I realized that was polar opposite of the truth. When did That start?

Okay, well it took me forever to get back to this ask and finish like I promised, but I kept my promise, huzzah! Long as fuck theorizing on this topic below:

So here’s the thing. I’ve been fucking around fandoms since the 90s, and I can 100% confirm that Everyone Hates Dick Grayson absolutely was not always a thing. Its a large part of WHY I’m so convinced that modern fandom is just fucking WEIRD about him, because like....I actively have something else to compare it to. I can absolutely remember what Bat fandom was like in regards to him back in the days of the Bludhaven yahoo group and squidge.org and other random URLs that mean absolutely nothing to 99% of you, lolol.

Like, there is very much, distinctly, DEFINITIVELY, a difference in how the majority of fandom views him and interacts with his character now, as opposed to like.....the first decade or so I was in fandoms.

And if I had to trace it back to a specific time period where there was like...an actual, visible sea change....the only thing I can come up with is around the Battle for the Cowl era, the start of the Morrison/Dickbats run. Not so coincidentally, this was the precise time I moved away from Batfam fandom after having pretty consistently being in it for a good ten years by then, BECAUSE there very clearly IMO was this change in how people were writing about Dick all of a sudden.

Like, there had been tensions building towards Dick’s character for awhile, probably ever since Jason’s return because like....in a sense, Dick’s too far removed from say, Tim, to be directly in competition with his character. What I mean is, there’s too little overlap in what people like about Tim and what people like about Dick for them to ever be like...a threat to each other’s fanbases in that respect, and push people to make a choice there. But with Dick and Jason, there’s enough overlap in them and what draws people to them - even just purely in terms of positioning within the Bat franchise, as an older Bat-sibling and former Robin that nevertheless is no longer Robin himself - that like....ever since Jason came back, you could start to see ‘fractures’ in how people viewed Dick. Because now there was another alternative to his character who occupied a similar......not sphere, but perhaps ‘level’ of the Batfamily franchise, and so people kinda started....picking sides, even though no actual sides had to be picked in the first place because its not actually a fucking competition.

And this isn’t to say the view of Dick in fandom and how he’s interacted with is the ‘fault’ of Jason’s return, not at all, just.....this is just me talking analytically, in terms of patterns and causality. Not trying to assign blame here, more just kinda explain the way it appeared to me anyway.

But then things all came to a head in the Battle for the Cowl era, and ignited stuff that had been lurking under the surface in SEVERAL different areas of fandom, and brought into direct conflict long-held assumptions and views and biases that had only never been in conflict before because they didn’t NEED to be in conflict before.

Basically, my Big Thesis about why fandom is the way it is about Dick, is that I feel its not so much that fans of other characters hate him, its that I think many of them RESENT him for very specific things and how those things like....make him a narrative obstacle to the kinds of stories they want to read and write about the Batfam specifically.

With the biggest examples here being Bruce fans, Jason fans and Tim fans.

See, my take is this:

1) I think a lot of Bruce fans resent Dick on some level because he’s actually the biggest obstacle standing in the way of the Bruce Wayne is a Good Parent view of things. As much as people have always liked to claim and take for granted that Dick is Bruce’s favorite or whatever, the truth is there is a far longer and far more VARIED history of Bruce and Dick being at odds than there is between Bruce and any other of his kids.

Essentially, in order to really sell Bruce as CONSISTENTLY being a good parent, regardless of what canon says or does at times.....DICK is the character you MOST have to rewrite or write around, change or ignore his stories, reframe his past interactions with Bruce in order to make this stick.

I know people are probably going “Umm what about Bruce and Jason though?” But the difference is, Bruce and Dick’s conflicts cover a lot more ground than Bruce and Jason’s. Its not that Bruce and Jason’s clashes aren’t epic and that Bruce’s behavior with Jason in stories like UTRH hasn’t been massively shitty....its that in terms of Bruce and Jason, these things are a lot more....confined, than they are with Bruce and Dick.

Basically, most of the major conflict between Bruce and Jason CAN be rewritten or avoided by simply addressing three or four definitive things: the Garzonas case and aftermath, Bruce’s actions/response in regards to the Joker killing Jason, Jason’s return and his wants and needs in regard to Bruce in UTRH, and Bruce’s view of Jason’s actions and ideology post his return.

None of these are small things by any means. But they are FINITE things. They’re concentrated into specific stories, specific areas of canon....and thus, more easily navigated around by anyone who wants to avoid engaging with these things in the form of Bruce being a shitty parent, and rewrite and reframe Bruce and Jason’s dynamic in the vein of Bruce is a Good Parent.

In contrast, with Dick and Bruce, to rewrite and reframe Bruce and Dick’s OVERALL dynamic in the vein of Bruce is a Good Parent......you’ve got a LOT more ground to cover.

There’s Bruce firing Dick as Robin, there’s Bruce not reaching out to Dick and being content to stay estranged from Dick for all the years they barely interacted, there’s the effect Bruce’s adopting Jason and making him Robin without a word to Dick in advance had on Dick, there’s Bruce still not using the conflict between them over that to make changes in how he interacted with Dick like say adopting him now, there’s Bruce’s actions and behavior towards Dick in the aftermath of Jason’s death, there’s Bruce’s inconsistent appearances in Dick’s stories in all the many times Dick very much needs help or comfort juxtaposed with Dick’s consistent appearances in Bruce’s stories any time he so much as calls him and asks him to show up due to the fact that canon writers can consistently be counted on to prioritize Bruce’s needs as more pressing than Dick’s needs, narratively speaking. There’s Bruce’s clear judgment of Dick in Last Laugh and failure to reach out and help Dick through its aftermath. There’s Bruce’s non-involvement in the extended greatest hits album that is one of the lowest periods of Dick’s life, encompassing Blockbuster, Tarantula and the destruction of Bludhaven, and Bruce’s non-helpful ‘fix’ in the wake of all that, which can be summed up as him yelling “suck it up, buddy.” And in the New 52 you’ve got Bruce’s shitty handling of the Court of Owls revelations and his treating the effect of these revelations on Dick as a total non-issue, there’s the aftermath of Forever Evil, there’s Bruce’s failure to say anything about why Dick went to Spyral even after seeing the effect it had on Dick’s relationships with the rest of his family, there’s the absolute disaster that was his handling of the Ric Grayson situation.....

See what I’m saying? Its not that Bruce doesn’t have plenty of fodder for being a shitty parent in stories with Jason, its just that the times and the ways he is are more isolated and contained, relatively speaking....thus more easily ‘treated’ by anyone who wants to FIX those parts of canon in order to realign it all in the framework of Bruce Wayne Is A Good Parent.

Its nowhere NEAR as easy to do that with Dick when you ACTUALLY engage with the full extent of how shittily Bruce has been written interacting with his eldest over the course of decades....

And so for fans of Bruce who very much WANT Bruce to be a good parent, that’s what they want to read, that’s what they want to write, that’s what they’re HERE for and stuff OUTSIDE that is stuff they (understandably) do not want to engage with....

This makes Dick actively an OBSTACLE to all of that. It makes him a Problem. Dick and his stories and his dynamics with Bruce, in order to truly align with Bruce Wayne is a Good Parent, have to EXTENSIVELY be tackled and rewritten and reframed, and this is no easy feat or no small process.

And for fans of Bruce who are here for BRUCE first and foremost, not Dick, and who thus don’t want to and aren’t thrilled to be confronted with a need to PRIORITIZE him and his stories to such a large degree in order to ACTUALLY ‘fix’ canon - which for the record has nothing to do with Dick being more important of a character or anything to do with character preferences whatsoever, but rather is simply symptomatic of the ROLE Dick occupies in Bruce’s life, and is an extension of the fact that in any scenario in which Bruce Wayne Is A Good Parent, Dick, as his son, logically MUST be as much a priority at least some of the time as any other of his kids because THAT’S WHAT A GOOD PARENT DOES, HE MAKES HIS KIDS A PRIORITY.....

Like, its honestly understandable (even if thanks, I hate it) that people who really just WANT to focus on Bruce and his Good Parent-ness and don’t want to be forced into HAVING to make Dick and fixing or rewriting how Bruce has screwed up with him into a priority when writing fic that ultimately, for these fans, is still supposed to be ABOUT Bruce.....like, its not exactly rocket science, grasping how this could easily lead to people being even less keen on the guy, because he complicates so many stories they want to write without remotely being one of the characters they’re inspired to write in the first place.

So I mean, yeah. Dick very much became an object of resentment for a lot of Bruce fans, I think, for that reason specifically, and for the narrative obstacle he innately presents to anyone who just wants to write Good Parent Bruce and doesn’t want to have to write Bruce Actively Fixing His Mistakes With Dick in order to do so.

And again, this is pretty much JUST Dick in this particular role (especially as of the time I’m talking about) because much like how even though Bruce has his fuck-ups with Jason, they’re more finitely contained to specific narratives and TYPES of narratives....the same is true of Bruce’s interactions with his other kids. Yeah, he has his fuck-ups with them too, but again, they’re more isolated, more traceable back to singular sources and stories that are a lot more easily sidestepped and navigated around by anyone who just does not want to engage with Bruce Being a Bad Parent and the EFFECTS this has had on various of his kids throughout their stories as a result.

So you have this thing, about Dick, narratively speaking, not even a matter of character like or dislike. And its been there all along, slowly building story by story....

With it all coming to a head, I feel, in the Battle for the Cowl era, where Bruce is shuffled off-stage for a time, and REPLACED by Dick as Batman.....while at the same time Dick is cast in the same role of surrogate father figure to newcomer Damian, that Bruce was cast in with Dick when he and Dick were of similar ages to Dick and Damian now.

And Bruce was absolutely celebrated for how good he was with Dick back then - and with reason - BUT, I think this period with Dick and Damian, and the stories it told, brought front and center the fact and the awareness that it’d been a LONG TIME since Bruce was so uncritically celebrated for being a Good Parent, and with Dick specifically. And then additionally it made and kept front and center at this exact same time....people celebrating Dick for being a Good Parent (in essence) in much the way that they HADN’T celebrated Bruce for quite some time. And add to that the fact that Dick was doing this WHILE in the role of Batman himself, the same role Bruce had occupied in the parallel situation....so it made all this into a parallel that couldn’t easily be dismissed or discounted by saying things like “well Dick didn’t have the pressures of being Batman to deal with, being a good parent throughout all of this and STAYING that way would have been innately easier because of that.”

And thus....long-simmering resentment of the obstacle alleged favorite son Dick poses to actually writing Bruce Is A Good Parent content without significant revision or ommissions....ignited. With kinda the insult added to injury that now Dick was getting the same kind of praise and attention that these particular fans came to the franchise to see BRUCE be the focus and recipient of, not Dick.

2) At the same time, you have another large segment of fandom by this point, Jason’s fans. Or to be more accurate, you have a select but EXTREMELY vocal subset of Jason’s fans.....

Who come to Jason’s fandom with a very specific angle: they LIKE Jason as the misunderstood outcast of the Batfam, the black sheep alone and apart from the rest of the family who Just Don’t Get Him And Never Will, thus making him eternally sympathetic in this specific regard. But with that specific regard, in order to STAY eternal…..requiring that….nobody in the family gets him or cares or ever has really.

Thus once again, Dick just by the existence of him and his actual past dynamics with Jason, is a narrative obstacle to writing THIS specific narrative.

And so of course it had to be reframed and EMPHASIZED that Dick had always been a jerk to Jason, barely a brother, heck they barely even knew each other apparently - even when Jason came back and one of his first interactions with Dick post-Return was to clearly express that he’d always seen Dick as family, which very much does not mesh the idea that Jason and Dick barely knew each other or barely ever interacted before Jason died.

It also, of course, does not mesh with the idea that there’s nobody in the Batfamily who understands Jason, or is capable of seeing things his way instead of Bruce’s, or who cares enough to avenge him……because Last Laugh very much DOES exist, and puts the lie to all of that. Dick’s not only killed at least once (actually more than just once) and still remained fundamentally the same Dick Grayson he’s always been, but on top of that, it was the very person Jason desperately wanted to see dead as some kind of evidence, some sign that he had MATTERED to his family, that him being taken away from them hurt them enough that they felt driven to DO something about it, beyond the usual toss ‘em and lock ‘em.

Dick actually did that, ‘gave’ Jason what he wanted, and for the very same reasons Jason wanted it, to know that it was because of him, because of the loss of him, because he MATTERED and his absence HURT….and while of course, Dick was never the person Jason most wanted to see do that deed, want to see that evidence from….nonetheless, it very much does remain as significant evidence towards the fact that Jason mattered a great deal to Dick, enough even that having differing beliefs about killing would still be unlikely to ever stand between Dick having some kind of relationship with his returned-from-the-dead brother - because not only was it because of Jason (and Tim as well, admittedly, I’m not trying to gloss over the fact that he was part of the story and part of Dick’s motivation, this is just a matter of topical focus at the moment) not only was it actually BECAUSE of Jason that Dick crossed the line that so often he otherwise rigidly adheres to…it was never that realistic that Dick would judge and condemn Jason for killing, at least not by any narrative that took Last Laugh into consideration.

Because not only has Dick done the same thing himself, and MORE than wanted to do it on many other occasions as well thus he very clearly understands both the temptation and the arguments made for it…..BUT just as significantly IMO, is the AFTERMATH of Last Laugh. Where Dick very clearly was shown wrestling with and being affected by Bruce’s implicit judgment for what he’d done. Meaning not only was Dick never actually likely to condemn or judge Jason….he also is one of a handful of people most able to empathize with being judged or condemned by BRUCE for crossing that line. It never made sense or was realistic that there’d be this great divide between Dick and Jason after his return, that Dick was unable let alone unwilling to try and bridge, even for the sake of spending time with the brother he thought he’d never have a chance to spend time with again. 

(And yeah yeah, its not like he was embracing Jason with open arms in Brothers in Blood, but I maintain that had more to do with Jason’s approach than Dick innately being predisposed to being stand-offish with Jason. Like, when you announce yourself by impersonating your brother and getting him a rep as a manic killer being hunted by the police, instead of just like…ringing the doorbell, its kinda like, well, you may have to shoulder some of the blame here. Not to mention there still was the specter of what Jason had done to Dick’s other little brother Tim, with this still unaddressed between the two as of that time).

So yeah, for the above reasons and many more, Dick once again presents a narrative obstacle to a specific KIND of narrative that happens to be the one a lot of Jason’s fans most want to tell. The one where Jason sticks it to all his uptight family and rides off into the sunset with his NEW family, one that appreciates him and holds him in proper respect and positioning, the one where Jason will always be at least a somewhat tragic figure, forever apart from the family he does still very much love, because THEY can’t reconcile who and what HE is and believes.

Cuz once you take Last Laugh into consideration, AND add in Jason’s own words at the end of Brothers in Blood and the fact that they DIDN’T hate each other back when Jason was Robin, nor was it just one-sided on Dick’s end of things…..well, with all that taken into account, it becomes a lot trickier pulling off the above narrative, doesn’t it? When the in-character behavior of Dick according to THAT characterization of him would never accept any version of events where Jason was cast out for good (and yes, yes, RHATO and Bruce exiling Jason from the city, I know that in the New 52 that’s pretty much exactly what happened and Dick didn’t do anything about it, but he was kinda busy getting shot in the head right around that same time, so, y’know. That cuts into the ability to intervene on Jason’s behalf).

But basically, this is IMO why Last Laugh barely gets acknowledged by a lot of Jason’s fans, even though on the surface, you’d THINK its exactly the kind of story that would appeal to anyone who wanted, well, a story where someone in Jason’s family showed that they actually gave a damn the damn dumb clown still wasn’t dead. Its an in canon story that showcases and even highlights very clearly Jason’s place in that person’s family and memories, and the importance and weight with which he was regarded by that family member. Isn’t that exactly what Jason - and thus by extension his fans - have always wanted?

Well….yes, except it was the wrong family member. To have the weight, the significance that a lot of fans TRULY wanted from that story, from that outcome, it needed to be BRUCE that did it, not Dick. There’s no real place in that particular narrative or dynamic for an older brother who does actually give a damn. Like yeah, its great that Dick cared and all, but when its viewed as being more of an all or nothing situation, like, it has to play out with Bruce in that role and no one else, or it doesn’t count, doesn’t mean ENOUGH…..once again, this positions Dick to be more of a narrative obstacle to a certain (popular) kind of story than a benefit. 

And so Dick has to be repositioned, reframed, rewritten…..to be something and someone writers can actually work with when writing the kind of story where Bruce’s acknowledgment is the only one that ultimately matters. Him being likely to WANT to help and support Jason from an in-character standpoint, simply doesn’t help writers for whom this just becomes an unwanted plot complication that inherently bumps Dick a little higher up the Priority Ladder, because his status as a Rare Ally rather than Yet Another Antagonist pretty much inevitably paves the way for more screentime for his character, and again….he’s just not the character these writers want to write about (and yeah, again, this part is totally understandable), and they’re really just not interested in allotting him that much screentime, let alone a role that could feasibly steal focus at times from Jason, edge the narrative into being more of a co-lead than the single protagonist it was definitively intended to be.

So. Fandom subset number two is equally predisposed to resenting Dick simply for the narrative obstacle he presents to one of their preferred stories to tell - with again, this pretty much taking off right around the Dickbats era, fueled in no small part by Morrison’s shitty take on Jason, which, while I maintain it was Jason that was most out of character in all of that….DOES still very easily play into that take on him, where he’s misunderstood and eternally at odds with his family. 

And which also, I suspect, is why Morrison’s run tends to be weirdly popular with a lot of Jason fans who in most other places are quick to point out earmarks of Jason’s usual characterization that are entirely at odds with Morrison’s take on him, like that he’s extremely against the idea of younger sidekicks in general at this point (especially pre-Reboot), which uh, makes him taking on a younger sidekick a very….Strange Choice.

3) And then lastly we come to Tim, and a lot of his fans’ issues with Dick Grayson - which I think are heightened by a kind of feeling of betrayal that ties in here, and emphasizes the fact that just a year or two prior to Battle for the Cowl, most of these same fans would have sworn they loved Dick’s character and he was a great big brother to Tim.

See, the problem here, I think, lies in the fact that Tim is THE definitive Robin for an entire generation of readers. He’s who they see in the role every time they close their eyes, because he’s who’s always been in the role as far as they’re concerned. Back issues are just that - back issues. They’re about the history of Robin. But in the present, the here and now, for the solid twenty years or so before Battle for the Cowl, for all intents and purposes there really was only one Robin and it was uncontested that it was Tim.

And again, on a lot of levels I totally get this. I’m somewhat similar when it comes to Kyle Rayner and Green Lantern. Kyle was ‘my’ Green Lantern, the one I grew up with, the one starring in the stories that were current and ongoing for me as I aged. I was pissed as hell when they brought Hal Jordan back and he resumed being front and center in the GL franchise…..not because before this I’d had any real strong feelings about Hal one way or the other, outside of how I felt about him in the individual stories he popped up in…..but simply because Hal front and center happens to coincide with the starring GL of the solo title I personally would consider the definitive GL run….like….pretty much getting shoved offstage entirely, most of the time. I get that. It sucks.

Except that’s not QUITE the situation here.

Like the thing is, I do believe that for a lot of fans, Tim IS Robin and Robin IS Tim. That’s how its always been for them, that’s the way they like it, that’s how it should remain until his character is ready to launch into a new persona and identity of his own character’s volition. And its not like it was ever a secret that other Robins came before Tim, and that Dick was actually the creator of the mantle, the guy that all the other later Robins, including Tim, were literally the legacy OF. And its not like Dick wasn’t around in Tim’s stories, and wasn’t a familiar presence to Tim’s fans….its just that for almost twenty years, the WAY Dick appeared in Tim’s stories only added to them. There was no angle from which he took away from Tim’s stories, or the fact that they were Tim’s.

Like yes, he was a reminder that Tim was not the only Robin and never had been, that there were others with just as much claim to the title, if not more……but in a very background way. Not in any way that presented any kind of ‘threat’ to Tim’s actual status as Robin. Dick Grayson’s days as Robin were way in the past, and there was no real likelihood that they were ever going to put him back in that role, so his ‘claim’ to the Robin mantle was never at any point one that potentially contested Tim’s own. It was simply a non-issue. Instead, Dick’s status as the original Robin juxtaposed with his current roles of doting big brother and secondary mentor figure….like, at the time, this actually ADDED to Tim’s own wearing of the mantle. Dick’s presence was less a reminder that he was the one without whom the mantle wouldn’t even exist, and more just a kinda embodiment of the Robin LORE, the fact that Tim’s superhero mantle came with history and the prestige of past accomplishments accomplished by the Robin name, and the gravitas of the dangers and downsides that potentially came with the cape as well. It gave Tim an additional angle that even most of his friends and teammates in various books didn’t have, made him stand out even more. 

And it didn’t hurt that pretty much any time there was a guest appearance from Nightwing in Tim’s stories, he was firmly slotted in the supporting character role, there to help Tim but not overshadow Tim, to support him but not claim credit for Tim’s ultimate victory in any given story’s climax. And there weren’t many occasions when things went in reverse, where it was Tim guest-starring in Dick’s stories and thus him clearly slotted in the supporting character category, the B character role….simply because the older veteran hero needing to call upon his younger, comparatively inexperienced ally just was never as likely - and thus, occurring as often - a story as one where the younger, relatively new hero calls upon his more experienced predecessor for help or even just some advice or someone to listen to whatever was troubling the younger hero at the time.

Thus there’s the additional angle where for almost two decades, Dick Grayson’s presence in a Tim Drake narrative was for one reason and one reason only - to support Tim in whatever endeavor he was in the middle of, and to be what Tim needed, when Tim needed.

But then of course, once again we reach Battle for the Cowl….and all of that gets upended, not even because of Dick making Damian Robin per se, IMO…..to me, its always felt like the bigger issue has always been many of Tim’s fans resenting just….the reminder, the newly centered awareness that no matter how long Tim had been THEIR Robin, he wasn’t the only Robin and never had been….and that supportive, helpful older brother whose presence had previously only added to Tim’s stories and their weight, never threatened anything that was ‘his’ narratively speaking…..not only did he also have a claim to the Robin title, he has literally the biggest claim possible, the one none of the others can match due to the mere fact that they are quite literally HIS legacy characters.

Which, not at all incidentally, is IMO the reason a lot of Tim fans are so vocal about dismissing or minimizing the impression/association of Robin with Dick’s first family. Always quick to emphasize that it being his mother’s nickname for Dick was a later addition to the canon, because it ties Dick to the Robin mantle in a way none of the others ever will be. But of course, like I’ve always maintained…that’s besides the point. Whether or not Dick named himself Robin because it was a cherished nickname, because he was a fan of Robin Hood, or for any other reason, its still equally true that he’s the creator of the mantle, plain and simple. It doesn’t exist without him, it was his aims, his intentions, his DEEDS back when he wore the (clearly circus themed and inspired, no matter what else is said about the name’s origin BUT I DIGRESS) costume originally…..like, those are literally what Robin WAS because they were what Dick created Robin to be. It was only something for others to take up later, let alone to even WANT to take up, with it coming with a weight of history and past heroics that later Robins were proud to embrace….all of that’s only because of what Dick imbued the mantle with in the eyes of the world, not to mention his own successors….via what he DID in the costume, while wearing it, coupled with the fact that there’d never really been anything like him before, a kid kicking bad guy ass alongside the more intimidating specter of his mentor.

Dick being the first Robin isn’t just a matter of linear progression, like its not just a matter of him EXISTING ahead of the others ‘in line,’ so to speak. Rather, being the first Robin is a matter of…..its literally HIM and HIS actions that every later Robin is the LEGACY of. He’s the SOURCE of the legacy. And you can’t really go…’how dare the guy I’m literally part of the legacy of, like, think he has the right to decide what happens with the mantle he and he alone created, long before I ever came along’…I mean….y’know? Boiled down to that, that doesn’t really….work, like its pretty plainly evident why the originator of a legacy mantle would think its his place to be the definitive voice on what’s done with his own damned legacy. Regardless of why he named it what he did and what specific associations the name had for him originally.

But there’s always been a determined focus on kinda…..shifting attention away from the question of who actually DOES have the right to say who wears the Robin mantle and when, because I think there is generally an awareness that like….Dick wasn’t out of line to think that his own damn creation was his to give in the name of adding to their circle of family, the same way as it did twice before. Its not that there’s NO angle from which even Tim’s fans might admit that who created a legacy matters in the question of who gets to decide who carries that legacy next. Its more that like….just the reminder, the newly centered awareness that yes, Tim is not the only claimant to the Robin title and never was, like…I think that grates a lot of people, tbh. 

It may have been something that there was always SOME awareness of, the whole time, but previously it was in a way that was supposed to be ancient history, not something that could ever end up ‘taking away’ something they strongly identified with being Tim’s and Tim’s alone. Especially when the character suddenly exerting a prior or greater claim on that mantle just so happens to be one that a lot of Tim’s longtime fans had long-since internalized as being part of TIM’S supporting cast, not another protagonist in his own right, one whose decisions could have a shaping effect on Tim’s narrative rather than the other way around, the way it felt like ‘its supposed to go.’

And bringing it back to the overlap with the first two fandom impressions I talked about, I think again, yeah, this resulted in a kind of resentment of Dick’s character and the narrative obstacle he presents to…..well, keeping Robin associated with Tim and Tim alone, practically speaking. Its not so much giving Robin to Damian in the first place that’s the problem, its the fact that he COULD. That within the actual canon narrative, this was acknowledged and supported as something that ultimately, Dick did have the right to do whether individual characters liked it or not, and no, that didn’t make him the same as Bruce when he’d taken it from Dick originally (assuming they acknowledge that version of the story at all in the first place).

Because due to the fact that its not something NEW that was introduced to the story that led to Dick being ABLE to do this, but rather just him choosing to exert an option he’d had the entire time and just previously chosen not to use……inevitably, this creates a slight shift in the framing and context of even previously consumed stories. Suddenly Dick’s presence in many of those previous stories ISN’T incidental, because now they couldn’t help but be viewed through the lens of….remembering what had been kinda hand-waved away as inconsequential the entire time Tim was Robin. The fact that ultimately, Tim was only Robin because Dick endorsed him. That if Dick could give Robin to Damian later, then Dick COULD have, by the exact same token, the exact same claim and association with the mantle he’d been the one to create….he could have stuck by his initial stance, which was that Robin died with Jason. 

In all fairness, as I’ve said many times before, this NEVER had anything to do with whether or not Tim became Bruce’s PARTNER, specifically. I’ve never been of the opinion that even Dick’s status as the originator of Robin had nothing to do with who ended up Bruce’s PARTNER after him - that was always going to be between Bruce and that person, and no one else. But whether, as that partner, Tim went by the name Robin….with everything it embodied and signified and carried with it already….that, yes, Dick had always had the option of saying no, I’m not okay with this, I do not give you permission to wear the SPECIFIC mantle I created, what my brother died wearing.

I mean, granted, Bruce and Tim could have done what they wanted anyway, but much like people try and dismiss or invalidate the version of events where Bruce fired Dick as Robin and stripped him of the mantle precisely BECAUSE there’s no real way to go with that version and NOT get that Bruce looks like a douche in it one way or another, simply because that was never his to take….like, same deal here. They could have powered on without Dick’s approval of someone else wearing the Robin costume, but ignoring the wishes of a mantle’s creator, to let it rest given that someone had literally died carrying that very same legacy, HIS legacy….like, that was never going to look good and would have stained pretty much Tim’s entire career as Robin.

So yeah, I think the third corner of this Isosceles of Suck is that I do believe on some level, a lot of Tim fans resent Dick’s character simply for where and in what ways it exists in any and all Robin narratives…..as the one who ultimately CAN NOT be overlooked as inconsequential, because its literally HIS legacy that Tim and all other Robins took PRIDE in embracing. And everything with Damian simply hammered that point home and made it front and center and impossible to avoid confronting, no matter how much a long time fan wanted Robin to belong to and be associated with Tim and Tim only…..with the ironic part being that I truly do GET why this would bug….because again, if you’re here for Tim, if its his stories you want to read and write, if HE’S the one you’re a fan of, and if for whatever reason you just don’t like Dick Grayson all that much even if you don’t actually hate him…..

Yeah, its likely going to lead to resentment if you yourself feel, purely from a narrative standpoint, like….’pressured’ to write Dick being afforded more respect or importance in the other characters’ eyes than you personally feel like writing. But that its hard to avoid or becomes something you actively have to write AROUND any time your own story backs you into a corner where the origins of Robin are directly relevant to the plot, and logistically, and given there’s really no plausible angle from which Tim would have embraced or taken up (let alone taken pride in) a legacy belonging to someone he DIDN’T look up to or view as worthy of respect….like…in this kind of specific plot tangle, it could very easily feel like if you want to keep things feeling in-character, you have no CHOICE but to have Tim talk up or speak positively of a character who, if it were up to you, would never command that kind of respect from Tim, a character you happen to think is just plain better than the one you feel like your story is MAKING you say is so great. Bam. Once again, you got yourself a recipe for Instant Resentment Ramen.

(Again, not at all incidentally, I think the above also has a lot to do with the pretty prevalent trend in Tim-centric stories of having him pretty much ONLY fixate or focus on Jason’s time as Robin, citing him as ‘Tim’s Robin,’ not just as like, a preference but almost to the exclusion of Tim having ever had any kind of interest in, let alone appreciation/respect for, Dick’s version of Robin before Jason stepped into the role. A lot of people would rather the respect/admiration that would normally be afforded by any legacy hero to the person whose legacy they’ve chosen to carry, like, go solely to Jason instead of Dick, just because they like him better and would rather Tim was just his successor, no one else’s.)

And with all three of these angles/elements coming to a head at the exact same place and time in the comic books and fandom……it IMO created kinda the perfect storm right around the Dickbats era, where suddenly all these totally disparate sections of fandom all felt weirdly in agreement on one thing and one thing only….Dick Grayson was really just kinda bugging them, and what’s so great about that dude anyway?

And from there I think they all kinda just fed into each other and grew exponentially, with the individual ‘workarounds’ used by each other characters’ fans to get around the narrative obstacle that Dick represented, like…..I think these all became so prevalent and widespread throughout fandom because even these totally separate corners of fandom that had very little else they agreed on, were more than happy to take each other’s ‘rewrite’ of Dick and his place/depiction in the overall narratives and canon and just run with it….because not at all coincidentally, each other ‘group’s’ revisionist take on Dick Grayson made their own even easier to sell within their own stories. And thus you also ended up with correlating trends like Jason and Tim being besties and bonding over their resentment of Dick, because why not, both their fanon narratives now predominantly shared the same deliberately unappealing depictions of their eldest brother.

With the New 52 and post-reboot storylines then doing absolutely NOTHING to negate or derail all of the above, but rather just reinforcing all of it. Because as Bruce kept being written behaving worse and worse with his children, including Dick, it only added to and expanded upon the problems Bruce’s fans already have with Dick’s character, even if just in terms of how big a plot/characterization obstacle he presents for the stories they want to write. 

Just as the way Lobdell wrote Jason equally fed into and built upon the issues a lot of Jason’s fans have with Dick’s character and the tangle he creates for a number of stories. And then with the frequent conflicts over how two of the characters Dick’s historically been closest with had been practically cut and pasted from Dick’s stories and history into Jason’s stories and history instead, like, that just threw more fuel on the fire, particularly when it happened to ignite defensiveness among fans of the Roy/Jason/Kory trio who additionally resented having to defend their usage/embrace of a trio that canon threw together, not them, that they just happened to like. And that in turn hardly making them any less predisposed to resenting how complicated Dick’s character makes things for certain key narratives. 

And then lastly, DC’s just complete and total fuckery with Tim’s character in the New 52 as a whole, but specifically in his issues with trying out various personas post-Robin but never finding/creating anything with a truly firm sense of its own identity, the way Dick has Nightwing and Jason has Red Hood, and thus give fans of both characters no REASON to mourn the loss of Robin or wish for them to go back to it….whereas without ever settling into something similar, that was both strongly and uniquely Tim Drake in premise and execution, there was no reason for his fans NOT to begrudge the loss of the Robin mantle and wish for him to go back to it/to have never left it, at least not until he’d found that other persona to actually ‘graduate’ into.

Phew. *wipes brow*

Anyway, that’s my big theory on why fandom as a whole is the way it is about Dick’s canon vs fanon. Am I right? Probably not completely, and even if I am its not like this is universal or that there aren’t other reasons for why fans engage with Dick’s character in the ways they do, including but not limited to “I just don’t like the guy, so what.” And its not like there’s any way to know for sure, or to get a sense of how much of fandom this theory IS on the right track with, at least in some ways. But overall, I do think there’s at least some of the above present in various ‘parts’ of fandom or with various specific fanon trends. *Shrugs* YMMV though.