#anti nightwing

[kay-enemy]

There's a lot of talk about Dick being a bad sibling in Red Robin (true) and when Jason was Robin (less true), but today I want to focus on how he treated Cass after her villain arc:

As though Dick has never done anything wrong and been forgiven?? Like bruh, you beat a man to death (Joker, so hardly undeserved) and still get to be "family" (a dubious honor, tbh).

And just to be clear, he was fully aware Cass was only "evil" because she was drugged and manipulated:

He's a real piece of work in this scene:

And hey, for once Bruce isn't being awful! (If only he would take his own advice about fighting (read: abusing) family...)

Yeah, definitely not a great big brother if he doesn't even think his sister deserves a second chance. Is this the kind of person who should be trusted with beating up criminals?

All screenshots from Batgirl vol 2 #1 (2008)

[zeynyukine3011]

DC and especially Chip Zdarsky hates every Robin except Tim.

Steph and Duke is not here because they don't even "exist" 😑🤦‍♀️

[graysoncritic]

A (Negative) Analysis of Tom Taylor's Nightwing Run - Introduction

Introduction Who is Dick Grayson? What Went Wrong? Dick's Characterization What Went Wrong? Barbara Gordon What Went Wrong? Bludhaven (Part 1, Part 2) What Went Wrong? Melinda Lin Grayson What Went Wrong? Bea Bennett What Went Wrong? Villains Conclusion Bibliography

I want to start this essay by admitting I’m actually embarrassed by its length. Why did I spend so much time on something I dislike? The truth is, I did not begin this with the intention of creating such an extensive, formal study of the Tom Taylor and Bruno Redondo’s Nightwing run and how it reflects the wider problems with DC’s handling of one of their most iconic characters. I was just trying to organize the thoughts that came up during discussions with other Dick Grayson fans. Before I knew it, I had enough material, enough desire to challenge myself, and enough frustrations to vent to properly create this monstrosity.

I did not begin this Nightwing run determined to hate it. In fact, I was ready to love it. As Taylor promoted the run before the first issue was officially released, I was so excited for it. As I read short interviews where he discussed Heartless, I could not wait to have a new, incredible villain. Foolishly, I believed Taylor when he said he loved Dick Grayson. 

Needless to say, I was disappointed. Then frustrated. Then angry. The beginning of any story is a period where writer and reader form an indirect bond, and as the story progresses, so do the highs and the lows of said relationship. As such, a reader’s tolerance for negative factors will either increase or decrease depending on their experience up until that point.

In other words, if the writer fails to earn the reader’s trust and instead takes their attention for granted, even seemingly insignificant details become irritating in a way they would not be if presented in a better story. In such scenarios, the reader can no longer overlook those minor moments because there’s little good to balance them out with. It is a death by a thousand cuts. 

In the case of Taylor and Redondo’s run, along with those thousand cuts are also broken bones, internal bleeding, head trauma, and severed limbs. A weak plot, simplistic morality that undermines the story’s stated themes, and, most importantly, a careless disregard for Dick Grayson and everything he stands for utterly destroyed my enjoyment of this series. 

It is still too early to tell what sort of impact Taylor’s (as of time of writing, still unfinished) run will have on Dick Grayson’s future portrayals. But just because we cannot predict its long term significance, it does not mean we cannot critique it. Currently, we simply lack the benefit of hindsight. 

If this essay were to have a thesis, then it is this: Tom Taylor and Bruno Redondo’s Nightwing not only fails to tell a compelling Nightwing story, but it also exemplifies a cynical, self-serving, and shallow approach to storytelling that prioritizes creating hollow viral moments to boost the creators’ own online popularity over crafting a good story, honoring the character in their care, and respecting his fans – fans who have, historically, often been women, queer folk, and other individuals who felt othered by a cisheteronormative patriarchal society. Taylor and Redondo’s thoughtless and superficial narrative not only undermine the socially progressive ideals they supposedly care for by propagating a cisheteronormative patriarchal worldview, but they also demonstrate a lack of love and understanding for the character in their care. At best, Taylor and Redondo have no interest in getting to know Dick Grayson, nor any respect for their predecessor and their contributions to this character. At worst, they despise Dick so much that they wish to reinvent him into something completely different, tossing away everything that was special to his fans in order to appeal to a readership that never cared about Dick Grayson. 

I structured this essay so that, hopefully, each part will build on the ones that came prior. Naturally, because all aspects of a story are interlaced, there will be overlaps between each of the sections. As it may have become obvious from this introduction, I’ll be focusing primarily on the writing of this run. That is not to say that I will not address the art, but writing is the field I know most about, and so it feels only fair to focus my critique on that. 

I hope that by the end of this essay, I will have successfully proved that this run’s mishandling of different narrative elements betray a cynical appropriation of progressive ideology and a disregard and disinterest in what makes Dick Grayson so special to so many people. This is an attitude that is present within DC Comics’ current ethos as a whole.

Now, who is this essay for? Honestly, it’s probably not for Tom Taylor fans. I do not believe I’ll be persuading anyone with my writing, and, to be quite honest, neither would I say I wish to do so. Taylor and Redondo’s run has won numerous awards and has many dedicated fans who adore it for what it is. If that is you, then I’m glad. I wish I could be among your numbers. I wish more than anything that I could love this story. But I do not, and I know many others agree with me, and it is to them, I think, that I’m speaking to. As Taylor’s run is praised to heaven and back, I needed a safe space to voice my thoughts. This essay became this safe space. And to others who also feel unseen by the constant praise this run is getting, I think this could speak to you, as well. To be cliche and cringe, this will hopefully let you know that you are not alone. 

Finally, I want to acknowledge some people whose thoughts greatly contributed to the creation of this essay. For around three years now I’ve been having wonderful interactions with other Dick Grayson’s fans, and those discussions were not only incredibly fun and cathartic, but also provided great insight into what needed to be included in this essay. My best friend especially gave me a space to vent when I got frustrated, and my original outline borrowed a lot from the messages I sent her, as well as notes I took for our discussions.  

I’ll also be directly quoting four different Dick Grayson fans (identified as Dick Grayson Fans A, B, and C in order to allow them to keep their anonymity). Their analyses were so critical to the formation of my thesis and for a lot of what will be addressed in this essay that I actually feel like they deserve co-credit in this essay. Dick Grayson Fan B especially deserves a shoutout in helping me track down a couple of pages used as supporting evidence, as I knew what pages I was looking for but was having a hard time remembering in which issue they were located. I’m quoting them with permission, and crediting their ideas and contributions whenever relevant. 

Now, without any further ado, let’s get started. 

[im-totally-not-an-alien-2]

Halloween prompts year 2 day 27

Danny watched on as Nightwing- his literal soulmate- did an amazing backflip off of a roof, spinning several times in the air before landing gracefully on the top of another building. Nightwing was so graceful and in control of himself and his movements. Danny found himself wondering how Nightwing would move as a ghost.

Heck, how would he look as a ghost? Would he have white hair like Phantom or blue hair like Ember? Maybe green hair like Kitty and Youngblood, but Ghostwriters hair was still black as a ghost so maybe he'd be like that?

Shaking his head he moved to get up from where he had been leaning up against an old chimney, Nightwing having long since left. How should he go about this anyway? He can't just go up to a famous vigilante and be like, "Hi I'm your soulmate. Wanna go out with a complete stranger who has no way of proving anything that they're saying?"

And there was the real issue. If Nightwing asked how he had seen his soulmark Danny could just tell the truth: he had seen it in that nasty fight last week where hoards of ninjas had attacked them and tore up Nightwings suit enough to see it from his vantage point.

But if he asked about Dannys soul mark...well that was harder to explain.

His own soulmark used to be on his torso before he died but after he stepped out of the portal it was gone. As in there wasn't a trace of it anywhere. It was one of the reasons he never went anywhere without a shirt anymore because he knew someone would eventually notice its absence.

He could probably explain it as Phantom to make it more believable but he would have to get Nightwing to know Phantom more for him to trust him.

Which lead back to "how do I introduce myself to him without earning an electrified stick to the face?"

After a phone call with Jazz, where she basically gave him the long winded version of "Just be yourself! You were made for eachother after all." He decided that yeah! He can use his ghostly instincts to guide him! Whats the worst that could happen?

Cue Nightwing and the other bats in the batcave a week later, crowded around a table covered in pictures of captured villians and thugs. All of them were the same. All of them showed a subject laying on thier bellys hog tied, and in a cage with the words "horny jail" etched into it.

The only real connection that all of these lowlifes had was them making crude threats, creepy unsolicited advances, catcalling or otherwise being a creep towards Nightwing.

Conclusion: Nighting either has a fanboy following him around getting in over his head or he has a violent stalker staking a claim

Robin disagreed with his siblings. Clearly whoever is doing this is defending Graysons honor and Damian approves.

Danny thinks he's doing a good job in the "showing soulmate that you are capable of protecting him from weirdos" maybe he should get Nightwing an Anti-Creep Stick of his own...

[mysterycitrus]

Mayhaps you've already taken a shot at answering this. Why do you think people in fandom get Dick Grayson so wrong?

to be totally honest i don’t know? like, i’d say a significant part of it is because the two icebreaker comics people seem to read when they’re getting into dc are red robin and under the red hood.

rr2009 is about a complex grief spiral that challenges dick and tims relationship before they ultimately reconcile, but if ur not interested w engaging w the story it’s very easy to villianise dick (and damian) for tim whump.

utrh also relies on a lot of context from other comics at the time, and i think a lot of people conflate bruce’s actions to dick, particularly with the movie, to make jason the victim rather than actually considering the actions he takes. idk. we fear complexity, ig

it’s weird because many of dicks most important and foundational traits — community, his relationships with his neighbours, his status as a big brother and mentor to young heroes, his kindness, his abrasive but ultimately loving relationship w bruce, his propensity to pick arguments, and his role as a beacon of light in gotham — evidently are popular because they’re consistently lifted to give to other characters. in return, dick is flattened to either an absolute enabling asshole or a total idiot with no friends who can’t even defend himself. it sucks

even in regards to angst…. a lot of what people write fic about has happened to dick rather than other characters. in modern canon he was fired during an argument with bruce. he was homeless and isolated during the latter half of grayson’s 96 run. he’s consistently hurt by bruce and his other family members when they throw hands at him outside of combat. like…… *smacks him* this bad boy can fit every fanon trope in him np

itd be nice for people to engage more with his character, but same with damian or cass it would require that other characters not be trapped in permanent victimhood or actually meet dick on his level. dick is the most emotionally intelligent person in that family and uses his powers to say the most heinous things imaginable. he’s the second best detective. after cass he’s probably the most dangerous physical combatant. he doesn’t need tim drake to show him how to reset his wifi password

[discowingneckline]

if i ever include jason todd in a fanfic, i hate to tell you all, but his relationship with the bats is going to be realistically strained and troublesome, but not in the way that typical fanon goes.

jason, having done bad things, does not get to have a victim complex about it. instead!! he keeps his little canon self of being super methodical about his dastardly plans, sort of regretting it but not really, and kinda of just being like "well you get to accept me as i am now or not" while the other batfam members are rightfully upset with jason's decisions and actions, and like have that complicated "i loved you before you died/i loved the image of you before you died, and i want to love you as you are now, but i don't know if i can love someone who does these things"

i had more thoughts, but they rolled around and died.

[trexiejan]

What Batman thinks of Starfire.

Okay so I've seen many people curious about what Batman thinks of Starfire. I've seen a lot of people say Batman hates her and that he doesn't trust her cuz she's an alien and cuz he's a dickbabs shipper. I will explain why those statement aren't true. That's not who the original Batman is.

Let's go back to the original canon before all the stupid ooc retcons were created.

The first time Batman ever mentioned Starfire's name was in Tales of The Teen Titans #50 (1985) where Dick and Kory have already been dating for years.

and behold

- Bruce never referred to Kory as "the alien" he called her by her real name.

- He knows his son is in a real serious relationship with her.

- Bruce never made any bad comments about her nor did he show contempt for their relationship.

- He acted like a kind father who just wants to know how his son is doing with the woman he loves.

The 2nd time he mentioned her is in Swamp Thing #53 (1986) where he defended Human/Alien relationships like Dick and Kory's.

again he called her by her actual name and showed no issue towards Dick and Kory's relationship.

The 3rd time was in Funeral For a Friend (1993) where Bruce greeted her and Dick. He was happy to see both of them attending Superman's funeral. And for the 3rd time he called her by her actual name.

The Original Batman was a kind father who respected his son's alien girlfriend. Who wasn't spiteful and xenophobic towards Starfire and doesn't compare her to Barbara. and no, he wasn't a pro-dickbabs shipper. That ship didn't even exist before they retconned a lot of shit.

That everything changed after Dick and Kory got broken up. Reason for their break up? The Bat-editorial demanded they wanted Dick Grayson back to the Bat-office. The Titans Editorial had no choice but to pull him out of the Titans books and hand him back to the Bateditorial.

The Bat-editorial didn't like the idea of Dick dating someone outside the Batfamily like Kory so they couldn't continue their relationship in the Bat-books. It needed to end. The original wedding plan for Dick and Kory got cancelled. They don't like Dick and Kory? Okay fine, no one is forcing them to like them, whatever.

but no they couldn't just move on and leave Dick and Kory's past relationship alone.

They just had to say something negative about their relationship and put down their shared history, didn't they.

Why?

Is that really necessary?

Why can't they just respect the love that Dick and Kory had for each other when they were together and leave it at that ?

Cuz they did love and care for each other. It was a genuine love.

You can ship him with another woman without undermining and invalidating his history with Kory.

Like what did Kory ever do to them to make them hate her so much.

After they deaged Barbara to be the same age as Dick and pushed them together as the new pairing, they made a lot of comics degrading Kory, minimizing her interactions with Dick, and retconning her history and relationship with Dick into a one sided sexual fling.

and they turned Bruce against Kory too. This is where the idea of Bruce being a "anti-Starfire" and "pro dickbabs shipper" started.

They created this retcon in Gotham Knight #43 (2000) where Bruce acted xenopobhic towards her, making him refer to Kory as the alien and belittling her relationship with Dick, something he's never done before. Just to portray Barbara as his one true love. Bruce has never even talked about Dick and Barbara before and now suddenly he's shipping them. This retcon is not only an assasination of Kory and Bruce's character, it has also done a lot of damage to people's perception of Bruce and Kory's relationship.

All of this for the sake of propping up a retconned romance.

Not only is Bruce mischaracterized here, Babs is also acting so weird and ooc.

There was no reason for her to moon and whine over Dick like a lovesick girl from highschool.

She was a congresswoman when Dick was still in highschool. She called Dick "a child" and "little brother". She wasn't interested with him, he was too young for her 😭

Barbara already had a life of her own and own relationships, she dated Superman and got enganged to Jason Bard 😭

Dick had a precocious crush on her but he moved on from her when he moved out of Gotham. Even the original dickbabs writer said they were never meant to be together 😬

Barbara and Dick weren't pining over each other when Dick and Kory dated for years!

Dick never even once mentioned Barbara's name in the New Teen Titans books!

There was no reason for Babs to pursue Dick and vice versa, Both have already moved on to other people but stupid dickbabs retcons just had to exist 🙄

So yeah Bruce only hates Starfire when he's written by dickbabs writers and bateditors.

He was fine with her in canon before they pushed their dickbabs agenda.

Even in elseworld stories where it's not written by dickbabs writers.

Like in the animated show He supported Dick and Kory's relationship.

and in Kingdom Come he literally went to find the best doctors to help cure Kory's illness 😭

There's no logical reason for Batman to hate Starfire other than just to shit on Kory and prop up Dickbabs.

the whole "He doesn't like her cuz she's a dangerous alien" form of excuse is also BS

his bestfriend is literally Superman, an alien who is far more powerful than Starfire, he's also teammates with Martian Manhunter who is also an alien 😩

Overall yeah Fuck Dickbabs. It's the only ship that is good at character assasinating characters.

[shyjusticewarrior]

"Sometimes you do such a good job of being a good guy I forget you're one of the 'bad guys'" is such a good line, I'm mad it's written by Scott Lobdell.

[allovesthings]

the concept of Bruce in a Nightwing suit is probably the most infuriating thing that could happen. I fucking despise it from the bottom of my heart.

First of all, the whole fucking point of Nightwing is that he surpassed Batman, why are you putting the guy he surpassed in his costume ?

Second of all,in canon right now, Bruce Wayne fired Dick from his first costume and gave it away to someone else without his consent, he has zero right to touch his second costume at all.

[princemonday]

nowadays i see a sliver of batcest on a blog i block it immediately 😌 protecting my peace if you will

[just-an-enby-lemon]

Batfamily Members as Book Tittles

Bruce Wayne:

Alfred Pennyworth:

Dick Grayson:

Barbara Gordon:

Jason Todd:

pt. 2

[leagueofbats]

i think i know the reason why bruce has problems with all of his children when they grow up:

bruce decided who he was and what his moral code would be when he was 8, and that has never changed after that. so i really think he just does not believe that people CAN change because HE never did...

but most people, most children especially, change a whole lot. and children who live through a lot of trauma can change very very much.

so for bruce, who - after seeing his parents die, yes- had a rather normal childhood (no fighting crime, no getting tortured, no dying, etc).. he cant relate to them. at all.

look at the oldest two:

dick started being robin at 9 i think? that man is trauma central. no wonder he and bruce got i to fight after fight when he was a teenager.

jason got tortured, DIED, woke up in his grave, was taken and brainwashed by a cult, got dipped into the lazarus pit... there was NO chance of him being the kid he died as.

Bruce is unchanging, but all the batlings are growing up, changing a lot, changing all the time. and he does not understand that thats normal - to him they are either doing something wrong or they ARE wrong somehow.

[graysoncritic]

A (Negative) Analysis of Tom Taylor's Nightwing Run - Who is Dick Grayson?

Introduction Who is Dick Grayson? What Went Wrong? Dick's Characterization What Went Wrong? Barbara Gordon What Went Wrong? Bludhaven (Part 1, Part 2) What Went Wrong? Melinda Lin Grayson What Went Wrong? Bea Bennett What Went Wrong? Villains Conclusion Bibliography

When asked to describe Dick Grayson’s character, many will say he is good. He is Bruce Wayne’s light, the person he could have been had someone offered Bruce understanding and guidance after his trauma. Dick is a leader. A big brother. A mentor. He is someone people can look up to, someone others can trust. He is “The Heart of the DCU.”

(Williamson, Joshua, writer. Sampere, Daniel; Herbert, Jack; Camuncoli, Giuseppe; Sandoval, Rafa, illustrators. Dawn of the DCU. Dark Crisis on Infinite Earth no. 7, e-book ed. DC Comics, 2022. pp. 28)

Characters, much like real people, are more than just a trait. Jason Todd is more than “angry.” Bruce Wayne is more than just “brooding.” Tim Drake is more than just “smart.” Characters are multidimensional. They have multiple facets, some of which may contradict one another because characters, just like people, are not created out of mathematical equations where two plus two always equals four. Humans are emotional. Their being is informed by past experiences, biology, culture. The intricate combination of these vastly different factors leads to inconsistency in rationality that may not always be logical. Dick being “good” does not mean that Dick can’t be angry, that he can’t make mistakes, or that he can’t lash out or be unreasonable, especially when stressed. Dick being “good” does not mean he can’t brood, does not mean he can’t be suspicious, nor does it mean he will always like everyone. Dick being “good” does not mean he can’t be his own worst enemy, that he can’t be calculative and strategic, that he always needs to be upbeat, or that he can’t be the most intelligent person in the room.

(Grayson, Devin, writer. Zircher, Patch, illustrator. Slow Burn. Nightwing no 93, e-book ed. DC Comics, 2004. pp. 10-11)

Sam Humphries also demonstrated this during his brilliant story, The Untouchable. There, Dick’s relentless determination to save people from the Judge’s machinations grows so intense that it becomes self-destructive. The story demonstrates how Dick’s “goodness” comes from a form of toxic perfectionism that has been with him since he was a child — a perfectionism born of a low self-worth that eats at him from the inside out

(Humphries, Sam, writer. Janson, Klaus; Campbell, Jamal, illustrators. Ruthless. Nightwing: Rebirth no. 37, e-book ed. DC Comics, 2018. pp. 08)

Even the 2003 animated series Teen Titans understood that in trying to catch the bad guy — almost always Slade Wilson in the case of that show — Dick could sometimes go too far.

Dick’s goodness causes him to see himself as a danger to not just his loved ones, but everyone who stands near him. He carries the world on his shoulders, taking the blame for every tragedy and seeing every death as a personal failure. When pushed to its worst, Dick’s goodness becomes an obsession which pushes others away, leading to isolation as Dick’s entire existence narrows down to accomplishing one specific goal. 

It is this reductive characterization of Dick – the idea that his one defining trait is that he is “good” – that leads many to misunderstand the appeal of his character. As I mentioned above, characters are multi-facet, and Dick is no exception. However, the ways in which Dick is multi-facet are very different from the ways in which most characters are multi-facet.

Please do not mistake what I am about to say by claiming these other characters are not complex. Or even that some of them might not subvert popular tropes. What I mean saying is that Dick’s complexity is demonstrated differently than what I believe most people are accustomed to.

For example, everyone knows Bruce Wayne keeps his feelings locked up inside. He compartmentalizes his emotions and his trauma in order to solve the puzzle put ahead of him. But everyone – characters and readers alike – understands Bruce is doing this. Everyone can tell that he is hiding something from others and keeping them at a distance. The reader is always aware of how Bruce’s trauma informs his actions, his interactions, and his thought process. 

(Grayson, Devin; Barr, Mike W., writers. Davis, Alan; Robinson, Roger, illustrator. Procedure. Batman: Gotham Knights  no. 25, e-book ed. DC Comics, 2002. pp. 20)

Take, for instance, Part One of Murderer/Fugitive. Although a major source of tension from the story surrounds the question of Bruce’s innocence, there’s never any question in the minds of the reader and the character that Bruce is hiding something. Tim Drake questions whether Bruce truly did kill Vesper Child and is hiding his motive, while Dick is certain of Bruce’s innocence and instead believes Bruce is hiding his alibi or the clues that would help them find the real murderer. Barbara Gordon, for her part, wavers between the two, but like Tim, Dick, and the reader, she is certain of one thing: Bruce Wayne is hiding something from her, from them… From us.

Similarly, Jason Todd’s anger comes from a place of hurt and a place of love, from insecurities and a need to prove himself. But like Bruce, all of that is clear to see. His anger and his hurt are simple to understand. Please, do not mistake this for me claiming that Jason is not a complex character — instead, I’m stating that his temperament, his trauma, and his actions are so interlinked that they are clear for the reader to see. His character, while rich, is more accessible. It does not take a lot of effort to know that Jason is angry because of what was done to him. It is easy to see that he is hurt because he equates Bruce’s love to the Joker’s death, and therefore sees Bruce’s failure to avenge him “proof” that Bruce does not love him as a son. 

(Winick, Judd, writer. Battle, Eric, illustrator. All They Do is Watch Us Kill: Part 3: It Only Hurts When I Laugh. Batman no. 650, e-book ed. DC Comics, 2006. pp. 13) Dick, on the other hand, does not wear his emotions, his motivations, or his goals on his sleeve. Dick keeps his secrets not by constructing an impenetrable wall like Bruce, but through misdirection. This is why those who are unfamiliar with Dick misinterpret him so much. They take what is on the surface at face value because they do not have the character history to serve as context to understand what lies beneath As a Dick Grayson fan (From this moment forward will be referred to as Dick Grayson Fan A) said “good Dick writers teach readers how to read him and bad Dick writers just have that surface level interpretation.” (I was actually talking to her about this idea and how I’m presenting it in this essay. The example I gave was one she suggested after I asked if she could think of good moments that exemplified this idea.)

As an example, we can look at this moment from Grayson, in which Dick sucks a lollipop while receiving a mission assignment. Someone who is not familiar with Dick and is looking at Dick and Helena’s interaction might be easily fooled into thinking that Dick is the pretty, strong, but annoyingly childish and slightly dumb male character who contrasts the serious, intelligent, and highly competent woman. The characters’ expressions, actions, and the onomatopoeias are certainly leaning into that familiar trope.

(King, Tom; Seeley, Tim, writers. Janin, Mikel, illustrator. The Raid. Grayson no. 04, e-book ed. DC Comics, 2014. pp. 02) However, Dick Grayson fans know that when it comes to the mission, Dick is as serious as Batman himself. Highly intelligent, Dick is considered to by many the world’s second greatest detective (there are many instances in canon when he is referred to as such), making him more than just a pretty face who knows how to fight (It should be noted that in this tweet, writer Tom King also ranks Dick as the second best fighter in the Bat Family). Furthermore, context matters. Dick is deep undercover throughout the duration of Grayson, and this scene is set shortly after the death of one of the agents of the organization Dick has infiltrated. In other words, Dick is in a highly stressful situation without allies to provide him with back-up or emotional support. 

His posturing in this scene, then, can be seen as an attempt to misguide and misdirect. He does not wish to let those around him – people he is not sure yet if he can trust – know the full extent of his capabilities or perceive any potential weaknesses in his value of human life. Positioning himself as the annoying and childish pretty boy who does not pay much attention to serious matters is a strategic choice that his fans readily pick up on.  

That is not to say that Dick’s smiles are all lies. Rather, Dick’s upbeat nature is a natural aspect of his personality that he will exaggerate depending on the setting in order to keep his privacy. He is a natural performer, a showman, and so he utilizes misdirection to his advantage. 

A classic example of Dick’s misdirection and how he is misinterpreted by others is how some would characterize him as an “attention seeker.” However, the term “attention seeker” has negative connotations as it implies someone who seeks the spotlight at the expense of others. 

That is the opposite of who Dick is. But that’s not Dick is. As a mentor, a leader, and an older brother, Dick will often invite others to join the conversation. He pays attention to what they say, he strategizes based on their needs. 

(Johns, Geoff; Wolfman, Marv, writers. Nauck, Todd, illustrator.  The Brave and the Bold. Teen Titans no. 33, e-book ed. DC Comics, 2006. pp. 15)

Simply put, Dick is incredibly empathetic and always in tune with those around him. This is why he works so well as both a Bat and a Titan, and why his personality in each team is so distinct. As a Bat, Dick is often portrayed as cheerful, his bad puns are meant to cut the tension, the is the shoulder for his family to cry one; as a Titan, Dick is a leader, he is a strategist, he demands others take things seriously and will not tolerate slacking off, he is trying to instill good work ethics and ensure that the team dynamic stays in top shape. 

As JL Bell writes in their essay Success in Stasis: Dick Grayson’s Thirty Years as a Boy Wonder for the book Dick Grayson, Boy Wonder: Scholars and Creators on 75 years of Robin, Nightwing, and Batman explains, “in contrast to how Robin behaved with Batman. [Dick] is usually [the Titans’] serious leader.” (Bells, JL “Success in Stasis: Dick Grayson’s Thirty Years as a Boy Wonder.”Dick Grayson, Boy Wonder: Scholars and Creators on 75 years of Robin, Nightwing, and Batman edited by Kristen L. Geaman, McFarland & Company, Inc., Publishers, 2015, pp. 22)

That is because Dick knows that when he is with his family, he needs to play one role, and when he is with his friends, he needs to play another. The Bats have their strengths, so Dick adjusts himself to play up on those strengths while also making up for its weakness. Same thing with the Titans. 

Mark Waid perfectly exemplifies Dick’s adaptability when portraying him in his World’s Finest (2022) and World’s Finest: Teen Titans (2023). There, Dick brings levity to his work with Batman and Superman, keeping an upbeat attitude while still taking the job seriously.

(Waid, Mark, writer. Mora, Dan, illustrator. Manhunt. Batman/Superman: World’s Finest no. 14, e-book ed. DC Comics, 2023. pp. 07)

Yet, when he is with the Titans and feels the weight of leadership on his shoulders, he is more serious, being the one to get the Titans to focus on their objective, getting them to look at the big picture, while also making the most of their abilities as individuals and as a team.

(Waid, Mark, writer. Mora, Dan, illustrator. Team Spirit. Batman/Superman: World’s Finest no. 08, e-book ed. DC Comics, 2022. pp. 05)

So yes, Dick is a performer, a showman, but he is not “attention seeking.” In fact, his use of misdirection illustrates that Dick is a very private person. And how could he not be? While it is true that Dick grew up in the circus, after his parents’ death, he went to live with Bruce, and in doing so, was put into an intense amount of public scrutiny. The murders of John and Mary Grayson happened on a literal stage with dozens of people watching. As a result, Dick’s very private tragedy became a spectacle.

After the death of Dick’s parents, Dick isn’t allowed to disappear into anonymity. He is not afforded privacy to grieve. He is taken in by Bruce Wayne, Gotham’s most famous playboy, billionaire, philanthropic who is also a bit of a selfish airhead (at least, that is how the public perceives him), and as a result, Dick is subjected to an immense amount of public scrutiny, not just from the media, but also from Gotham’s elites, and even his peers at school. Not only that, as Robin, the Boy Wonder and the first ever sidekick, Dick also is put on the spotlight while also being aware of the necessity of keeping secrets. 

As a result of having his tragedy broadcasted and having a new mission that requires secrecy, Dick becomes a very private person. He is not an open book; instead, he is meticulous about what he shares and he prevents people from looking at what is not of their business by using his showmanship.

Furthermore, Dick’s role as a performer who, as Joshua R Pangborn describes in his essay about the Robin costume, “experiences […] the full spectrum of emotions, each and every night, for the catharsis of others,” transforms him into a literal vehicle for emotional catharsis and empathy. (Pangborn, Joshua R “Fashioning Himself a Hero: Robin’s Costume and its Role in Shaping His Identity”Dick Grayson, Boy Wonder: Scholars and Creators on 75 years of Robin, Nightwing, and Batman edited by Kristen L. Geaman, McFarland & Company, Inc., Publishers, 2015, pp. 42) In their essay, Bell argues that while Bruce Wayne embodied “the mid-century ideal of the American male,” who is always “in control of his feelings, not letting them overcome his judgment nor displaying them broadly,” Dick Grayson “can express deep emotions, not only his own but Bruce’s.” As such, Dick often acts as a sounding board for his family, friends, team, and romantic partners. As a performer, Dick embodies whatever persona is necessary to create a safe environment where others can process their emotions and achieve catharsis. (Bells, JL “Success in Stasis: Dick Grayson’s Thirty Years as a Boy Wonder.”Dick Grayson, Boy Wonder: Scholars and Creators on 75 years of Robin, Nightwing, and Batman edited by Kristen L. Geaman, McFarland & Company, Inc., Publishers, 2015, pp. 12)

Dick's performance, then, comes not just from a desire for privacy but also from a deep place of empathy. It comes from a desire to help others work through their own stories. This is why he can step into other's narratives without overshadowing them. In fact, he’ll often elevate those characters by complimenting them and creating the circumstances needed for them to shine. As a performer, Dick is naturally adaptable and always willing to fill the role necessary to create the space required for others to work through their emotional needs.

But, as with everything, Dick’s performance is also a result of his destructive perfectionism. Dick equates “good” to “perfect.” He believes that he can only be wanted by Bruce if he is the perfect Robin, he can only be wanted by his friends if he is the perfect leader, he can only be wanted by his siblings if he is the perfect older brother, he can only be wanted by his partners if he is the perfect boyfriend. As Humphries’s The Untouchable demonstrates, because Dick was raised in an environment where failure could be fatal, he internalized these stakes to every aspect of his life. 

(Humphries, Sam, writer. Janson, Klaus; Campbell, Jamal, illustrators. Ruthless. Nightwing: Rebirth no. 37, e-book ed. DC Comics, 2018.pp 20

And it doesn’t help that all of the people in Dick’s life do prove that assertion right. Everyone holds “the Heart of the DCU” to an impossible standard that, when Dick fails to live up to it, he is crucified and punished for it. If he tries to be perfect, he's told off for being the Golden Boy, but if he fails to be the Golden Boy, then he is told off because he let people down when they were relying on him. Ironically, this is done by characters in-universe real-world fans. As Dick Grayson Fan A pointed out in a discussion about depiction of Batman Family members killing their antagonists, “there's always this pressure to have Dick ~fall from grace~ and I do lowkey resent that. Dick should be allowed to be good, not punished for it.”  

This creates an environment where Dick constantly needs to maintain perfection in order to be in everyone’s good graces. Failure is not met with understanding and comfort, but with punishment. No one expects him to fail, no one likes when he fails, no one forgives him when he fails. That also means that Dick doesn’t feel safe opening up about his insecurities because to do so would mean “proving” he cannot stay on the pedestal he’s been put on. And so, he is forced to perform the role of a “perfect good guy” by using misdirection so people won’t abandon him for being human (this was said during a very interesting discussion and addressed both canon and fanfic writers. There’s a lot that can be said about Dick’s parentification and how that is viewed in the context of fandom. This is not the essay for it, and, to be perfectly honest, I’m not entirely sure I’m the best person to open said discussion).

Taylor does not portray Dick as someone with this many layers. Taylor’s Dick is perfect simply because he is good. He is the perfect friend, who is always happy to support others. He is Barbara Gordon’s perfect boyfriend. Dick is the perfect older brother, the perfect son, perfect model citizen. 

But by equating being “good” with being “perfect” without exploring the negative consequences that come from such pressures, Taylor robs Dick of the emotions that humanize him. In Taylor’s run, a good person will not be angry at their friends, will not be frustrated with their siblings, will never disagree with their romantic partner. This strips Dick of all of his nuances, and instead reduces him to a non-descriptive “everyman hero” with a limited emotional range whose only narrative purpose is to serve as a blank canvas for readers to project themselves into. 

Simply put, Taylor is uninterested in writing Dick as a character because he does not see value in Dick for who he is. Nightwing #105, which removes Dick from its story in order to allow its readers to “be Nightwing” illustrates how Taylor and DC at large only value Dick his connections, not for who he is.   

(Chen, Jess [jesswchen]. “Tweet Message.” 18 March 2023, https://twitter.com/jesswchen/status/1636971185782259716?s=20.)

Be Dick, and you can be good friends with Superman! You can be Batman’s son! You can be Batgirl’s boyfriend! Robin’s big brother! Flash’s best friend! 

As a Dick Grayson fan, this feels insulting. I’m not saying Dick needs to be anyone’s favorite character, or that anyone even needs to like him. I’m not interested in dictating anyone’s taste. But to someone who loves Dick Grayson, it is insulting to think that those responsible for his stories fail to see his value. To Taylor, the person who, as the writer for both Nightwing and Titans, has the most control over Dick’s portrayal, Dick is nothing but a tool that will soon wear off its use. 

In treating Dick as such, Taylor and DC send a clear message to those of who love Dick, and that message is that the things that make Dick special, the things that made us love him, do not matter. 

For his near century long existence, Dick served as a stand in for those who feel othered in society. While I do not have the time to go into a gender studies and queer reading of Dick, it is notable that his character often spoke to many people who felt different. As Mary Borsellino’s 2006 essay “A lot like Robin if you close your eyes” Displacement of meaning in the Post-Modern Age explains:

The things which a Robin-like figure can contain, but which are cut off from being embodied by Robin himself, lose none of their importance simply because they are rejected by a restrictive, corporate-controlled status quo […] It's worth inspecting what was excised from Robin, and charting where these elements instead found articulation: in those from lower socioeconomic backgrounds; non-White people; young single parents; and HIV positive people. And, especially, girls and women (Borsellino, Mary “‘A lot like Robin if you close your eyes.’ Displacement of meaning in the Post-Modern Age,  2006)

While Borsellio’s essay focuses on the Robin mantle, as the creator of said mantle, such assertions can also be applied to Dick. In fact, Bell concurs with the idea that those who were othered have always took a preference to Dick when stating that “Robin’s status as the littlest guy in the fight increases the character’s appeal for some children, especially the ‘youngest and weakest.’” In other words, it is crucial to Dick’s character that he is not an “everyman hero.” He is not the hero of or beloved by the average individual, but rather by those who were ostracized by society.

Taylor’s writing exemplifies the “restrictive, corporate-controlled status quo” imposed by DC that Borsellino speaks of. His characterization is the manufactured image that removes Dick’s “socially deviant/rejected” qualities his fans loved about him so that he can be palatable to a more mainstream audience.  (Bells, JL “Success in Stasis: Dick Grayson’s Thirty Years as a Boy Wonder.”Dick Grayson, Boy Wonder: Scholars and Creators on 75 years of Robin, Nightwing, and Batman edited by Kristen L. Geaman, McFarland & Company, Inc., Publishers, 2015, pp. 11)

This, of course, is not necessarily new. As Mason Downey argues in their 2015 essay In Defense of Dick Grayson: Objectification, Sexuality, and Subtext, DC has often struggled between leaning into the audience Dick has and wanting to erase any “othering” elements from his character. As they point out:

The more sexual and idealized Dick was allowed to become, the more attention he got from female and queer fans, the more the industry had to work to combat the past anxieties revolving around the character. This resulted in more and more heteronormative romances for Dick on the page. We can’t grant Wertham’s fears any legitimacy, we can’t make these stories “for girls.” Writers did so in a few ways, some obvious, some less so. On the page, we had Dick’s deflection of female sexuality that he was not in control of, and we had a level of emotional posturing with relationships he was in control of. We had moments where we saw him manipulating with or being manipulated by sex. There were editorial pushes to lean into Dick’s popularity with women and queer men coupled with the simultaneous desire to not acknowledge or grant legitimacy to the fanbase he found in those demographics. This translated to more sexualized poses. More pin-up style spreads. Multiple bait-and-switch wedding, marriage, and relationship teases which turned out to be fakeouts or got written out. Long strings of female side characters were introduced exclusively to be love interests. Off the page, we had more concrete examples. We saw a lack of merchandise and lack of representation of him in other forms of media. There was a pervasive hesitancy in broaching his existence outside of the spheres of already established fans. For example, Nolan’s The Dark Knight Rises featured Joseph Gordon-Levitt playing a character literally named Robin, who was invented for the film franchise rather than allowing Dick himself to exist in that cinematic universe. Dick Grayson is a character built upon one repeated mantra aimed at what eventually become two of his largest demographics, “Remember, this is not for you.”

(Downey, Mason “In Defense of Dick Grayson: Objectification, Sexuality, and Subtext” Women Write About Comics. December 2015)

What makes Taylor’s run unique is that in trying to have Dick tackle social issues such as homelessness and in trying to create a class commentary, Taylor attempts to create a progressive, albeit simplistic, veneer while erasing the important and “other-ing” aspects of Dick’s character that was so beloved by his fans. 

This, I believe, is one of the many explanations why many of those who praise Taylor run claim that this is the first Nightwing run they ever enjoyed, while many (though admittedly, not all) those who have been longtime Dick Grayson fans feel betrayed and frustrated by the way their beloved character is being handled. Dick is currently being appropriated into a more mainstream, palatable hero. He is being taken from those who loved him and being scrubbed clean to be suitable for an audience who could not appreciate him for what he was, only for how his connections could give them a wish fulfillment fantasy. As another Dick Grayson fan expressed:

I see no heart in [Taylor’s] work, only soulless marketing. He sells himself as something good and work on his perfect public image and everyone who disagrees is wrong and it gets on my nerves like nothing else. […] I wouldn't be as salt[y] if Taylor was genuinely trying to writing something good. I don't have the heart to [be salty] at someone working with passion, even if I don't like it.

(Henceforth referred to as Dick Grayson Fan B... This was actually said during a discussion in which we expressed how we wish we could be as excited about Taylor’s run as many others are.)

[gonnalosemydougdimmadomedamnmind]

Literally I am so sick of whore dick grayson, himbo dick grayson, fandom bicycle dick grayson, like yall really saw that dick is the canonical pretty boy with the nice ass and then proceeded to give him 'bottom' as a personality and just ran away with that. Dick is not a pretty idiot that loves having sex and only cares about his appearance, for fucks sake. He doesnt need to be rescued by jason todd of all people, who literally willingly burned all his bridges and can't even save himself, or wally west, frankly, who is one of his best friends but not the one he gets emotionally vulnerable with.

He doesn't do casual sex, at all. He needs an emotional connection first, is it so hard to believe that an attractive person actually wants to connect to someone instead of fucking them? Or fucking their problems away? Is it really so hard to believe that an attractive person can also be intelligent? Can also be kind? Can also be selfless? Can also take care of themself? Can also be a functioning adult? Can also be mature? Can also be damn fucking good at their job? Have yall ever met a real person before?

Dick is Romani and one of the most well known stereotypes about the Romani people are that they are like magically alluring people that can't keep their hands to themselves or that they're like thieving, dumb, dirty animals and what did yall reduce Dick down to? An overly emotional, stupid, pretty slut that acts without thinking.

You know just because something is racist in canon doesn't mean you have to take that and amplify it by 100 in fanon, right? Like the shit I have seen on this website alone, the takes that just won't stop, are literally so much more racist than anything you would ever find in canon. And good God, it's not like you have to make his race the forefront of his character! It's not! No one's is, that would be bad characterization. But should his being Romani affect the way you portray him? Should there be certain things you can be considerate about? Should being Romani be part of his identity? Uh, yeah.

And also. Should you maybe consider what he's actually like in canon to characterize him within fandom spaces? Uh, YEAH.

Dick Grayson is a romantic at heart, is extremely private, and cherishes the emotional connections he has with people. He is a good person because he chooses to do good things. He wants to help people! He's literally a genius, I mean this in every possible sense, academically, physically, emotionally, strategically, picking up and mastering skills with ease, being a detective... that doesn't mean he doesn't have problems. He's an extreme workaholic. He will never talk about his own problems to his friends or family, just the occasional therapist. He's so good with people, he knows exactly how to manipulate situations into his favor, to his own detriment. He will never give up on you, to his own detriment. He bottles up his emotions deeply, and yes, occasionally he does explode. He has a guilt complex the size of the sun. Everything is his fault in his head, Everything. He will accept the blame for anything, for his own rape even, because he's Dick Grayson and hey, he should've known, he should've been able to tell. (This is specifically talking about Miriam).

Everyone puts him on a pedastal because he's the guy that can actually pull off the impossible and no one but him realizes just how high that pedastal is. Bruce wants to be him, thinks there is literally no one better than him, no one who could soar higher than him, the ideal hero. His hero.

Goddamn Superman thinks he's the one person in the universe that will almost always do the right thing at the right time across every universe. And I don't mean that he will BE the right person at the right time, I mean he will DO the right thing at the right time, because Dick believes in the power of choices! Of free will! He could do bad things just as easily as the people around him, he could choose to be cruel because that is literally so. much. easier.

But he doesn't.

Almost ever.

In nearly every universe.

Do you know how much pressure that is? He drowns under the weight of his own perfection, truly. He can't fail.

He can't fail.

Isn't that so unbearably sad? You spend your whole life reassuring other people that everyone gets second chances, and that you are not your worst moment, and that you deserve compassion even at your most despicable, and that everyone makes mistakes, and sometimes things are inevitable, and sometimes all you can give is your best.

You are the only person. Who does not receive that same mercy.

He can't fail.

His family treats him as an emotional punching bag, sometimes a physical punching bag. Occasionally, so will his friends. It's hard to see the person behind the legend. And Dick's legend is truly titanic in proportions... the first child hero. No one could've done it, if he hadnt done it first. If he hadnt done it so exceedingly well. And then he had his own hero team. And then he became his own hero, again. And then he had his own city. He did it all first. The literal trailblazer, lighting the way for everyone else, not letting anyone stop him. Not waiting for anything. A force of nature.

Everyone wants to be him, be liked by him, be acknowledged by him. They all rely on him, the linchpin of a universe. Dick really is like the sun. Warm, encouraging, revitalizing. He is the light in the dark, illuminating and intense. Focused. Powerful. And they are all caught in his gravitational field.

Dick is so much more interesting than anything fandom will spare him. God, what I would give for fandom to give even a 10th of actual attention and critical thought to him or any other poc character in this franchise, that fandom gives to the white characters. I mean, we've all seen it. The narrative fabricated through lies that 95% of fandom takes as gospel because they refuse to engage with canon or simply don't care because it favors their favorite characters. In case you don't know, I am in fact talking about fanon jason todd- aka meaner Dick Grayson with Helena Bertinelli's lifestyle and fanon tim drake- aka less athletic, more victimized Dick Grayson. The white fandom darlings, extremely woobified, you know how it is. Sigh.

[venus-de-mil0-09]

CAN WE PLEASE GIVE MAR'I GRAYSON A NEW LOVE INTEREST

Like Damian is literally her uncle! And don't give me the "Well Dick is adopted so he's not really her uncle 🤓☝️." ADOPTED OR NOT HES STILL HER UNCLE. She's calls Bruce grandpa!

Like give her someone outside of the batfamily, her whole character does not have to revolve around her parents lives!

For example give her a meta- human/alien/vigilante/civilan partner who is not related to her and is not used as a plot device for her just so she can say "But daddy/mommy I love them 🥺!"

(Like of course you can have drama but it does not always have to be like this)

Or just not give her a partner at all she can be Aroace!

(Also I just wanted to say that please stop with the batman being xenophobic towards Starfire stuff, like that literally makes no sense for him)

[discowingneckline]

i love the batfamily, but nothing gets me more upset than when tim drake or jason todd fanon folks start up with some zesty racism (yes, this is me complaining how much they blame dick and damian for things that either 1) aren't in canon, 2) are in canon but change how characters react to them, and 3) regardless of if they are or aren't canon, decide that all their favs horrible actions are excusable because they are little babies but dick and damian's (especially damian's) aren't understandable, are exceptionally horrible, and/or unforgivable. like what a womp womp on your part.