#at least for a modern-day Batman

[jasontoddenthusiastt]

Tim describing Jason:

Tim to Jason:

Jason describing Tim:

Jason to Tim:

Batman: Battle for the Cowl #1-2 (2009)

[puppetmaster13u]

Prompt 171

Danny would like everyone to know it was a complete accident. Look, normally he was really good at not altering the timeline! He was! 

But the dude was definitely not in the right Time, and he had to get his trust which took so long, like damn he thought he had anxiety. Seriously though, kevlar in the 1700s? Yeah that wasn’t right, and Peepaw always complained about the messes that the speedsters caused, so he was trying to prevent a mess by tugging the dude away and helping him out. 

Falling in love maybe a little, was not in the plan. But honestly the man had a worse sense of self preservation than he did as a teen and was also straight up adorable, in a wet cat  who could kill you sort of way. 

So maybe he helped the dude grab a child that was going to be drowned. It wasn’t like anyone else saw them! Even if similar situations might’ve happened a few different times. 

Still, no one saw them! 

So why is there now a small cult who worships the Shadowed one and Radiant one, aka his companion (who would not give his name save for B, which, fair, probably didn’t want to accidentally wreck the timeline either) and well, him?! At least they worship them as guardians of children, but uh. Should he maybe, perhaps, fix this…? 

[daisybell-on-a-carousel]

I'm a few pages in and this is the best storyline literally ever why have I not seen any mention of this.

[redflagshipwriter]

Check Yes (to go on a date with a dead guy)

Chapter 1

The expectant smiles froze on his siblings’ faces.

Jason blinked, still shaking off the disorientation of the green twisting blur that always came when he took his turn with tHe RitUaL. “What?” he said. It came out defensive. Usually they were all laughing by this point.

Dick reached out and took the post-it off his forehead. “We may have misunderstood this sacrificial thing.” He frowned at the note.

Jason tore it away and flipped it around to read it.

“...Please stop the bridal sacrifices,” he read, voice instantly trembling with the need to laugh. Holy shit. “Proposal is kinda forward. But if you really want, I’d totally go on a date with you. Check yes or no. Danny.” There were two smiley faces after the name and a scribbled drawing of a human looking guy with tall hair.

The batcave was in total, mortified silence. The ritual that had become their pre-patrol goof-off activity of choice had maybe… maybe been a mistake?

“I’m kinda hurt,” Dick broke the silence. “I’m marriageable. I’m a catch, even.” He was joking, but Jason was pretty sure that it wasn’t totally baseless. Who would look at Dick and then choose Jason, of all the people?

Stephanie snorted. “It’s probably your reputation as Ritchie Rich,” she soothed. “I’m sure if this… is it the same guy every time?” She blinked, clearly distracted from her original thought. “Have we all been proposing to Danny day after day?” She wondered. She started counting on her fingers.

“Twice last week,” Tim said thoughtfully. “I proposed to him twice last week.” A line formed between his brows. “I should probably tell Bernard, huh?”

“We must communicate with whoever this Danny is,” Damian said immediately. “If this realm possesses both animal life that resembles our fauna and sentient beings capable of the bad judgment necessary to select Todd as a suitor over Richard, we must know more.”

Jason made a face at Damian and flipped him off, but didn’t disagree. “How is this supposed to work?” He waved the post-it. That did imply some modernity, at least. They were communicating with someone who had stationary. “If I was going to check it, would he know what I picked? Or would I have to– should be bride sacrifice a notebook back and forth?”

“A notebook,” Tim said scathingly. “We can do better than that. A communicator, a phone.”

“Who says Danny has signal, dingbat,” Jason shot back. “He’s probably out of the service area.”

Cass took the paper out of his hand and peered at it. “Yes or no,” she asked, cutting off the disagreement before it could get heated.

He didn’t have to think about it. “Yes,” Jason said, mischief in every line of his body. “I gotta see where this is going. We should at least meet the guy.”

“He said you were tempting!” Dick gasped. He grabbed Jason by the arm and clung on. “Remember? The first time? You’re his type!”

Damian made a ‘gross’ face, features scrunched up like an unhappy cat. Stephanie ‘ooooed’ like she was watching a wrestling match. Cass merely looked thoughtful.

Jason shook his annoying brother off and kept him at a distance with a palm on Dick’s forehead.

“Oooh, the void boy has a crush on you,” Stephanie teased. “You’d be such a beautiful bride, Jason.” She didn’t react to Cass reaching into her hip pouch and withdrawing a sparkly purple pen. Jason loftily ignored Stephanie and watched Cass carefully check YES.

The note disappeared. Cass looked at her empty hand. She flicked the pen between her fingers. Her brow scrunched up.

“Shit!” Jason cursed. “Did-”

The group broke out into an explosion of excited sound.

A throat cleared from the stairs. “Kids?”

Batman stood there, wearing wary suspicion and most of his patrol outfit. He was under the impression that they had agreed to stop sacrificing each other to the green void.

“She took my pen,” Stephanie wailed, instantly switching tracks. Cass backflipped away three times and then leapt directly upwards into the rafters, waiving the purple pen tauntingly. Stephanie chased after her.

“What-”

“Jason won’t let me hug him,” Dick tattletailed. He lunged to grab at Jason. Jason dodged on reflex and threw himself into the scuffle.

“I need to call Bernard.” Tim turned and outright left the Batcave. “I’ll be about five minutes late for patrol, B.”

Bruce watched this chaos with bewildered eyes. “...We leave in ten,” he said, and visibly gave up.

…

The date, when it came, was a fuckin surprise to Jason. He was minding his own business compiling a report on everything the Two-Facers had done last week. (There was a surprising amount of bureaucratic process involved in making yourself the judge, jury, and executioner of people who sucked.)

And then there was a violently green hole in his wall. “Huh,” Jason said, leaning back in his chair. He pulled the handgun out of his desk drawer and cocked it at the portal. “Not sure I care for that.”

“Thanks, wolf,” came a warbled and nonsensical reply. Jason turned off the safety.

His brow furrowed. “What?”

The portal flashed white and it closed. He was lifting his gun to point at the man now standing in his apartment before he’d actually processed that someone had come through. This guy moved fast.

“This is where you live?” The other man was peering around Jason’s apartment. He seemed politely interested at best, and, Jason felt, much less concerned by the gun than he should have been. “I heard bats before. I thought there would be more bats.” His tone was disappointed. He looked at Jason and then flinched his palms out and up, as if he thought he might have come off rude. “Not that you need bats! Or that I’m disappointed by the lack of bats in your decor. In fact you have wonderful, uh, curtains.” He very obviously named the first thing that he saw. He pretended to be fascinated by them. “The red sure is a choice.”

Jason snorted.

“A great choice! I’m not criticizing your home. It’s great.”

Jason realized that if he didn’t say anything to save him, Danny was going to ramble himself into a verbal corner and slink out of the dimension to escape his obvious embarrassment.

“...You hair looks just like in the picture you drew,” Jason said. He put the safety back on. “Hello, Danny.” The name tasted odd in his mouth. It twas just a little pedestrian for the other man– no, teenager, the other teenager.

Danny looked young. No wonder he’d thrown Dic back like the wrong fish.

Jason felt a little less smug about having been the one chosen. Maybe he was just the most age appropriate candidate, not Danny’s type. Timmers was only two years younger, sure, but he was petite enough that it was a little ambiguous.

Danny turned away from Jason’s window and beamed up at him like that was the greated compliment he could have ever received. “I don’t actually have your name! Which is funny, since you kept manifesting in my house.”

God help him, Danny was cute. Jason reached out a hand. “Jason.”

Danny looked at his outstretched hand and then back to his eyes. He blinked. “Are- oh!” He flushed green and his hand shot out to meet Jason’s in what was very clearly the first handshake of his life.

It was a struggle not to laugh. He didn’t wanna make Danny feel bad so he held it in. There was a helpful distraction in that Danny was fascinating to the touch. It didn’t feel like he was touching a human hand. First off, the hand was about the temperature of butter straight from the fridge. Secondly, somehow the physical contact made Jason taste mint in his mouth.

But really, it just… it didn’t feel like human skin. It was too smooth. There was a raised line from a scar, but the texture was as if all the wrinkles and pores of human skin had been polished off. Like if you held the hand of a marble statue and it was somehow also soft.

Jason pulled his hand away before he could wonder too much if that supernatural smoothness extended elsewhere. Ah. Too late. He flushed a little red, even though the only exposed skin was Danny’s hands and face. “So you’re here to uh, set up a date?” he offered.

Danny blinked at him. “Are you busy now? I was thinking now.”

…He was sort of busy. Jason closed his notebooks, only now concerned that Danny might have seen extremely sensitive information. “Nope,” he lied, attention catching on Danny’s freckles. Something about them was pinging as relevant. Was there a pattern? They weren’t symmetrical or anything. Were they fake?

Danny beamed and - he floated up a few inches in his excitement. Holy hell that was cute. “Great!” he enthused. “Should we go to your place or to mine?”

Uh.

Jason turned violently red. “We are already in my place.” His voice came out tight. He- he hadn’t meant that. That was not a first date activity for him.

It took a few seconds for the penny to drop. “Go out in your city or go to the Ghost Zone!” Danny waved his hands frantically. “I’m not being a creep I swear! I mean, we are kind of spiritually engaged but I’m also engaged to– are those people your friends and family?” He was outright horrified. “Oh my GOD, I’m-”

“I would love to take you out around town, but you’ll stand out,” Jason interrupted. He couldn’t hold back the smile. “We can make it work, though. Thoughts on hats and glowing less?”

“Oh, that’s easy.” Danny twitched his hands outward in a motion he probably didn’t even know he was doing. There was another flash of white light that crawled up and down his body.

And Danny one was gone. Danny two stood in Jason’s apartment with dark hair, patched jeans, and a loose t-shirt that hid the musculature his jumpsuit had displayed. He had a full palette switch of his eyes and skin tone as well.

He was obviously the same guy. He just felt more down to earth now.

“Useful,” Jason said, and tugged at his snow-white forelock. “Think you could teach me to change my hair like that?” He was only half joking. It was the bane of his existence when he needed to go undercover. It was too distinctive.

“No, but Doctor Frostbite might be able to sort that out for you,” Danny replied absently.

Jason grimaced instinctively. He knew way too many gimmicky villains to want to do to someone called Doctor Frostbite. “That sounds like the name of a B-tier villain with blue hair.”

Danny paused and clearly contemplated it. “That’s Ember, actually,” which made no branding sense because the word ember evoked warm colors. “Lead the way!” He bounced on his heels, which Jason guessed was his human form equivalent to floating up.

Jason cleared his throat. “I, uh, am gonna want to change.”

For the first time, Danny really looked him up and down and realized that he was wearing a white sleeveless undershirt and black boxers. Jason waited patiently as Danny went through all the stages of grief and social mortification. That didn’t stop Danny’s eyes from followed Jason’s bare arms when he casually lifted one and flexed a little, rubbing at the back of his head. Ha. Eat that, Dick.

“I’m going to go drown myself,” Danny said, now violently pink. Huh, even blushing for a color change. “Can I use your restroom?”

“Stay alive enough to pick between Korean or Mexican,” Jason advised. “I’ll be right back. Should I find you a coat?” He didn’t wait for an answer, frowning at Danny’s bare arms. “I’m gonna find you a coat.” He was already on the way to his bedroom. “It’s freezing out.”

…

[darqx]

Hi I understand if you don't reply, but I was wondering if you have any advice to beginners who want to start making their ocs a reality? (Like in the sense of having Charecters that have been in your thoughts for a while, but it's hard to encapsulate them into physical form?) As I have some that id like to make either into a game or comic but I'm a little stuck..

Also I'm curious if there will be any other content with the best boy himself rire?? : 0

Hullo! Ah, (physically) designing characters, how fun ❤️ - there is part of a reason why I only have a handful of them lol XD; ANYWAY here are three things that help me, so hopefully they can help you as well :)

(I'll use Demon!Rire as an example as unless you are an old guard of mine, he will probably be the most recognisable of my characs.)

--------------

❓What do you know about them?

First of all since you already have your character in mind, congratulations you are most of the way there already! It's helpful to know the general vibe of them. And I don't mean the super detailed things that may arise from like..."Get to know your OC" quizzes - we are more looking for the core feeling of a character here. If you dumped this character into different AUs what things are going to stay the same/similar? Some things you should consider are:

What is their personality like? Why do they do the things they do?

Do I already have any physical traits for them in mind? Hair/eye/skin colour? Body type? Age? Name??

📝 Write a simple paragraph or some dot points about your character with these things in mind.

---EXAMPLE---

Sophisticated and charming, Rire outputs an aura of power and elegance. His pleasing physical appearance and gentlemanly demeanour usually enchants or commands people. Realistically, he is extremely manipulative and sadistic, and finds entertainment in the reactions of others.

---/EXAMPLE---

🤔 Make informed choices

Ok cool, you know something about your charac! Now build upon what you know to make them real - it is important here to try and match your design choices with the characterisation and "why"s of the character, and less with what you personally think will be cool/cute/whatever. What I mean by this is just pretend they are a person you are describing to a forensic sketch artist - you are giving "facts" as to what you think they look like not making stuff up (eg you would NOT be like "oh yeh she was totally a punk rocker however i'm going to say she wore a long flowing gown cos I think she'd look prettier in it?"*)

*Note that designing a character with opposites in mind can work out if you can at least answer the cursory "why" of it being a part of the character design. For eg maybe the punk rocker is secretly the alter ego of a socialite - flowing gowns and high fashion by day, grunge by night. Like Batman.

📝 Feel free to use dress up doll games and image searches for particular types of clothes/hairstyles/etc if you need inspiration. Thumbnail a bunch of different designs and see what works.

---EXAMPLE---

In my prev example paragraph I highlighted a few things in red. Here I'll break down how they can help craft a physical appearance:

Sophisticated and charming / elegance - to me, these combined make me think of ballrooms and black tie functions and nice suits. A well tailored outfit and someone who knows how to wear them.

Gentlemanly demeanour (well to some degree lol) - since I already know he's hundreds of years old (973 to be exact) I decided that an aristocratic Victorian-esque aesthetic would suit him. Somewhere in between a modern look and something with a bit more fantasy steampunk flair. He smiles quite genially until he's doing it with all his teeth.

Aura of power - he's got to be a bit of an imposing character so he's quite tall (or at least taller than all of my other characs) and carries himself confidently. Hooray for the ability to loom. Dark colours for this character, to cut an impressive figure.

Pleasing physical appearance - kinda stereotypical type of good looks that aesthetically most people would be like "yeh he's pretty". Athletic build - muscular but not bulky, broad shoulders, tapered waist etc etc.

Extremely manipulative - first of all, he looks rather human, for a demon - his entire species is designed very particularly like that. Then there's the sunglasses. The "why" [does he wear them] is they function to hide his eyes (one of the main parts of him that give away his demon-ness), but also as a bit of a red flag to the audience that something isn't quite right with him. I mean, look past his charm and he wears them all the time. The black and yellow colour scheme also ties in as warning colours ⚠️

Put them all together and this was one of my first sketches of Demon!Rire.

*Note that I already more or less knew how he looked other than his outfit; you will probably have a lot more sketch duds as you figure out what your character looks like.

---/EXAMPLE---

🔐 Don't lock yourself in

Despite the fact I've just said "pretend your character is a person", remember you're still their creator so obviously you have final say over them. Sometimes you'll find that they grow and change from what you initially thought of them (or you just evolve in how you draw them). Don't be afraid to make the tweaks and changes that enhance these - whether they be physical or core characteristics - and you'll get closer to the true character you always had in mind.

---EXAMPLE--

I now draw Rire with a more pronounced V-shape, longer, wavier hair, and somehow he ended up with way more pronounced eyelashes than I usually draw on my male characs. Which works out quite well considering how I tend to draw his eyes. Anyway the point of this is that these things developed over time as I kept drawing him.

---/EXAMPLE---

🍀 Try it out with your own characs! Have fun and don't force yourself to try and get it "right" on the first go.

[theloneotaku158]

As of Batman: The Brave and the Bold #12, local precious-gremlin-who-I-would-die-for, Maps Mizoguchi, is now officially(?) the sixth Robin. Or at the very least, she's now "in" on The Secret™.

If this isn’t a set up for her taking up the Robin mantle officially then I genuinely don’t know what is.

As one of the twelve Gotham Academy enjoyers in existence, I am having the extremely normal reaction of "FUCKING FINALLY! LET'S FUCKING GOOOOO--!"

In all honesty, I'd be lying if I said I hadn't seen this coming from miles away. Like, Maps has appeared in a number of seemingly random cameo roles recently, including Batgirls (2021), and even technically as Robin in the backup issues of Batman (2016) #119-121, and in a short story in Batman Black & White. And most of those got collected in a standalone titled "Maps of Mystery", which specifically gathered all her appearances as Robin (and the Gotham Academy Belle Reve story).

And then, of course, her recent time-travelling Future-Trunks-esque appearance in Birds of Prey (2023), as the tech-based Meridian, from a potential future timeline where she apparently makes it as a superhero using gadgets she apparently designed, proving that she's hero material.

That's not something you do for a character for no reason. That's the sort of thing you do when you want to keep a character in the conscience of your readers for whatever reason, because you have bigger plans for them.

Also interesting to consider that, in the "Mother's Day" story where this took place, Alfred is standing right there and not lying down six feet under wood, dirt and a stone slab, and that Bruce is in the old Batcave under the manor so he still has Money™. So we must assume this was some nebulous time in the past (after GA: Second Semester(?), but before City of Bane)... which I won't bother to analyse the exact timeframe of because DC doesn't care about the post-Flashpoint / New 52 / Rebirth / Prime Earth / idfk / Dawn of DC timeline, so neither should I.

But I think it's really funny that this presumably means Maps has known The Secret™ for a long time relative to present-day comics, but always acted like she didn't.

But if all her appearances are in chronological order, that means Bruce is only the fourth Bat whose identity she discovered.

Like, she discovered Cass' identity almost by accident on a trip to the zoo, Damian showed off his grapple gun and gave her an actual Batarang during the three hours he was enrolled in the school (as if she wouldn't immediately put two-and-two together even back then), and she even found out Terry fucking McGuinness would become Batman in a future via a time-travelling grandfather clock.

No I did not make that last part up. Read Gotham Academy istg.

Did Cass know that Maps had been acting as a Robin when she met her, both at the zoo in Batgirls and her future version in Birds of Prey?

Does Damian know the one (1) friend(?) he made in Gotham Academy is potentially in the running for his job?

Is Bruce himself aware that she knows as much about their identities as she currently does?

How is DC going to retcon this so it all makes sense in the barely-functioning canon of the modern DC universe?

I'm digressing. Where was I going with this?

Point is, she's destined to become a Robin, and I'm glad DC finally pulled their fingers out their asses and capitalised on that destiny.

Let's just hope it doesn't take another year for them to follow up on this plotline again.

Bonus: Jason Todd, after learning of Bruce taking yet another happy kid under his wing as yet another Robin, giving her some advice:

[pileofmush]

don't crush the wings

pairing ➸ luffy x fem!reader

details ➸ tags: modern au! humor & spice! gratuitous use of the f-bomb // cw: no smut, but a little suggestive; drinking. everyone's at least 20 & this doesn't take place in america; reader wears a dress & is called a girl at one point // wc: 2k

a/n ➸ happy halloween! 🎃 muahahaha

“We are gonna get fucked up tonight,” Nami sings into your ear with a sharp giggle. She’s sitting on your lap, turned towards you with a long bottle in her dainty, manicured hand. Fishnets run up her thighs, up, up, up into her short black miniskirt, and the fabric rides up farther as she wiggles in your lap. 

“Or just fucked,” you mutter, side-eyeing your friend. You know for a fact that Nami has goals she plans to achieve by the end of the night, and they probably have something to do with a pretty girl whose name starts with ‘V’ and ends with ‘ivi’. 

It’s Halloweekend, a Friday night, and you’re pregaming in the shoddy little apartment you share with Nami and Usopp. Nami’s dressed to kill as an alluring vampire vixen, and Usopp’s fiddling with the zipper of his Party City superhero costume. Knowing your friends, you expect for a little mayhem to occur tonight. Especially considering the party you’ll be attending: hosted by none other than the ASL brothers. 

If there’s one things you can trust the ASL brothers to do, it’s to wreak havoc on society. If there’s a second thing you can trust the ASL brothers to do, it’s to throw a decent party. 

Nami swats your thigh at your remark and thrusts the bottle into your hands. “Drink more,” she orders. “You’re not nearly drunk enough.” You fumble for your Hello Kitty shot glass and pour liquor into your glass.

“Just drink from the bottle,” Nami chides, fingers curling around the hem of your dress. You take this in stride; sink into the spotty old couch Usopp salvaged from a flea market with a sigh. Nami’s a flirty drinker: you know this. Get a couple drinks in her and she’ll get touchy and bossy—or, bossier than she already is. The girl cocks her chin up at you in challenge. “Don’t be a pussy.” She’ll also get mouthy.

You reject her protests with a minute shake of your head. “No way.” Usopp trots over from across the room with a matching Hello Kitty glass, and you tip the bottleneck until vodka pours out, to Nami’s displeasure. “I’m not a fucking heathen.” 

“Cheers to that,” Usopp says, then clinks his glass with yours—Hello Kitty to Hello Kitty. He throws his drink back and immediately starts coughing. 

You smile at your friend’s pathetic demonstration, raise your glass, and toss the drink to the back of your throat. It goes down a little smoother than your first had, but still lights a fire in your chest, tears prickling at the corners of your eyes. 

A loud knock has your head swiveling to the front door. “The calvary is here!” Someone from the other side shouts. 

You say Usopp’s name, and he rolls his eyes.

“Yeah, yeah,” he says and shuffles toward the door, probably resenting the day he signed a six-month lease with two bossy girls. He quickly unlocks the door, swinging it wide open. A boy springs through the entrance with a loud whoop, arms in the air. Behind him struts the moss-headed Zoro, who heads straight for the kitchen, determined to find the booze and drink you out of house and home, you’re sure. Hovering by the entrance lingers Sanji, who towers over Usopp.

“Are you seriously dressed as Batman?” You hear him ask.

Usopp’s pitch raises unnaturally as he defends himself. “The ladies love Batman!”

Sanji snorts. “What do you know about ladies?” He asks, stepping around the Walmart Superhero. Suddenly, he halts, gaze locking on you and Nami like a fucking aim-bot. 

“Nami-Swaaaaaaan!~” He croons.

Nami grabs the bottle from your hands and takes a giant swig. 

“And you must be an angel,” the blond appears at your side, sighing dreamily. A crown rests atop his head; his hair shines like spun gold. Blegh.

“A fairy, actually.” You reply, jab your thumb at the iridescent wings strapped to your back. 

He nods reverently. “Ah, but of course. You’re made of faith and trust, magic and whimsy, my ethereal little pixie.” 

You blink once, twice. Wonder if this loon pregamed the pregame, or if he’s just naturally this ridiculous. Nami takes another shot of vodka, and Sanji’s eyes track the curve of Nami’s neck as she gulps and sighs.

Damn it all to hell. You debate stealing the bottle and drinking from it like a heathen. Nami was right. You are most certainly not drunk enough for this. 

Nami and Usopp’s friends are… Well. They’re something, alright. You met the duo in college and fell in love with their snarky energy, but their non-college friends? You pan your head from Sanji and Zoro, who are halfway to beating each other’s faces in in the middle of your kitchen, to their springy friend Luffy, who’s quite literally bouncing off the walls. Yeah… You try to avoid them when you can.

But. Tonight’s Halloween. The one day you’re legally required to make bad decisions. 

So, more alcohol. You tug the bottle from Nami’s death-grip and take a healthy swig. “What happened to ‘not being a fucking heathen?’” She quotes, mirth bubbling in her voice. 

You open your mouth to say something unbelievable witty and dry, but are interrupted. “Who’s fucking heathens?” Someone behind you asks. Both you and Nami turn to face Luffy, who’s leaning over the back of your couch, upside down. 

“Nami,” you deadpan, at the same time she intones your name. 

Luffy laughs, boyish, but also… Not. His hair’s pulled towards the ground, black curls pulled back to reveal thin brows and half-lidded eyes, and the expression is a little… Sexy. Somehow. Impossibly. Kinda lazy-like, with a shit-eating grin, and it’s... 

You clear your throat, feeling a bit warm. 

“Shouldn’t you be with your brothers? Y’know. Hosting a party right now?” You ask. Luffy chortles. In your peripherals you can see Nami considering you, undoubtedly smelling blood in the water. 

“Nah. Ace n’Sabo threw me out ta stop me from eating all the snacks,” he says. His words aren’t quite slurred, but come out as a drawl, low and intoxicating. You have no idea how this man did a complete 180 in the span of 30 seconds. It’s giving you serious whiplash.

The front door opens once more, and Nami lets out a little squeak. Ah, that’s probably Vivi and co. Hmm. Dimmed lights, a sultry voice warbling over the speakers, intermingling with the occasional drunken shout… This is turning out to be a successful pregame. 

Nami jumps off your lap, stealing the bottle from your hands one last time. Her limbs tremble before she inhales deeply, steeling her nerves.

“Have fun,” you say, shooting her a look. 

“Oh, bite me,” the vampire snaps, then stalks off to go flirt with Vivi. You silently wish her luck (the amount of times you’ve had to listen to her hopelessly pine is staggering) and turn back to face Luffy again, a twinge of uncertainty in your gut.

He’s dressed like a football player, you realize. It’s a good look on him. His jersey is neon yellow and trimmed in green, but the color’s not as obtrusive as it might be in brighter lighting. And it shows off his lean figure, which is. Nice.

Appreciative as you are of his frame, you’re thinking up exit strategies by the minute. This is uncharted territory. You can count the number of times you’ve had a one-on-one conversation with the man on a single hand, and, don’t really feel like stumbling your way through small talk.

“You’re glowing,” Luffy notes. “S’pretty.”

Never mind. This is cool.

“Thanks,” you say, sheepish. “It’s the body shimmer. I’m a fairy.”

“A pretty one.”

Ah, fuck. 

You don’t really feel the alcohol all that much, but there’s a pleasant buzz floating through your body, and it’s making you a little more… susceptible. To simple compliments like that. It has your heart stuttering, but in a good way. You want him to say it again.

“What, that you’re pretty? ‘Cause you are.” He nods. “So pretty,” he concludes; dark eyes sweeping over your frame. 

Did you say that aloud? 

You blink. Rack your brain for something coy to say. “You’re, um. Yeah. You’re pretty, too.”

Fuck.

Luffy laughs at that, and you’re grateful, because you are totally off your game tonight. But he doesn’t seem to mind, just leans in closer, still upside down, and it gives you an open view of the column of his throat. Golden brown skin, taut and firm until he swallows. You tense and back up a little to see his whole face.

He’s close, incredibly close. You can smell the Corona on his breath as he exhales. And you don’t really kiss random people at hangouts after only like, two compliments, but your brain is starting to consider him the exception. 

You pull in your bottom lip reflexively, and his eyes dip to your mouth, tracking the motion. His pupils dilate. He looks, he looks hungry.

Fuck fuck fuck—

The door opens again and more people trickle into the apartment, pulling you out of whatever weird ass trance you were in, and you curse. Is this a pregame or a party of its own? The fuck. 

You lean back, hands seeking purchase on the couch cushion to support you, but maybe you’re a little more drunk than you think you are, because you completely overshoot it, body tipping toward the floor. Your head spins as you realize in real-time that you’re about to eat shit, squeezing your eyes shut before impact.

Somehow, quick hands race up your body and flip you so that instead of falling on your back, you’re braced on top of something, cushioning your fall. Your eyes open. Luffy grins from beneath you.

You’re straddling him, you realize. Make to get off him, but his hands tighten on your waist and then loosen. A suggestion. 

You stay. 

Everyone’s eyes are on you, searing into your skin, but they’re nothing compared to the hot hands sliding down, palming your thighs. You don’t know whether to be mortified or grateful that you chose such a short dress. Luffy hums appreciatively.

Grateful it is.

Time to do some damage control.

“Mind your own business,” you hiss, looking up at the room. Everyone returns to their previous occupations, albeit reluctantly, sneaking glances out of the corner of their eyes.

You turn your gaze back to the man underneath you. “How the hell did you do that?” You accuse. It should be humanly impossible for someone to perform such complicated maneuvers—while inebriated, mind you!

He just shrugs. “Didn’t wanna hurt your fairy wings, did ya?”

That is. Ridiculously sweet. 

“Fuck,” you say. It just slips out. 

Luffy’s eyes sharpen. “Yeah?”

“What?” Your breath hitches. God, you sound wrecked. 

Luffy waits a beat. Runs calloused hands up and down your thighs, and you just barely contain yourself from shuddering in his grasp. But it may be for naught, because you’re melting like putty in his hands. 

He yawns, then licks his lips. “Wanna make out?” He asks abruptly. 

It’s at this moment that you wonder exactly how you wound up here. What choices did you make in your life to end up like this? Splayed out on your apartment floor, surrounded by tipsy acquaintances, straddling the most bizarre man you’ve ever had the misfortune to come across? Fucking Halloween, man. This might just be the most humiliating thing you’ve ever experienced. 

...

You say yes.

In the end, you don’t end up making it to that party. 

[disniq]

Hi so uhhhh, not actually making any sort of relevant point about anything but I saw you guesstimating Jason's kill count and I have to justify the fact that I went panel by panel to hand count his kills SOMEHOW so like have the data please!!

Skipping dear Filipe's moldering corpse due to uncertainty, we start with Lost Days

Human Trafficking Truck Driver Ian, Egon, Steel Beam mercenary crew estimated at least five strong, three more of his teachers, eleven nameless russian mobsters, a cousin and a running buddy of a russian mobster: 23 people

Under the Red Hood

Eight heads in a duffel bag, four thugs with Freeze (Freezy boy does not die), Two confirmed on panel delivery man kills (Five-ten more suspected but we won't count em), Ten goons in the doorway when he swings the minigun on them as he and Onyx retreat, five more goons, Rocket launcher blast kills "most" of a security team with at least three members left alive so we'll call that three kills (far more deaths are implied), shoots a guy holding a lit molotov catching him on fire, then kills Captain Nazi (yay), forces Black Mask to kill six of his men, forces Some Guy to fight Black Mask to the death for him, and finally dear old Black Mask's PA is thrown through a window (his cycling class will miss him dearly): 42 people

(So, yeah, your ballpark of about a hundred give or take sounds about right, he's only got ~65 on panel, confirmed notches on his knife by the end of UtRH, and the implications seem to imply between 20 and 75 kills off screen)

That Time He Kidnapped Mia

Short and sweet, he only ices a pack of "brain donors": 5 people

Brothers in Blood

Two human traffickers, three more drug runner goons, two more goons later on: 7 people

Red Haired Foolishness Phase part one

Starting the running with two cops, lightning bug assassin, six mobstery big wigs, a guy, Flamingo: 11 people

Red Haired Foolishness Phase part two

Littleman Beaver's brother and his brother's fourteen goons, fifteen of his fellow inmates, then the grand poisoning of eighty-two people (well he poisoned more but we only get eighty-two confirmed as dead): 112 people

This is not even slightly a complete list, so consider this final number a lowball of:

Two Hundred people even!

as Jason's body count... at least pre-new52, don't ask me what's going on over there in modern canon, idk

Hope this was entertaining/useful to you in some way!

Best wishes -redhoodinternaldialectical

This is an amazing reference, thank you so much for sharing!!

I can fill most of the later stuff, because there's tragically little of it.

Nu52's attempt at giving Jason a concrete kill count was laughably low;

Red Hood and the Outlaws (2011) #21

Rebirth was mostly non-lethal, with the notable exception of the gang Jason uses to establish his new edgy loner lifestyle after the famous rhato 25 beatdown from Bruce.

RHATOs (2016) #26

I count 11 of them, and I think it's safe to say they're all dead.

But then he teams up with Batwoman, and then Bunker, and then becomes a teacher at Lex Luthor's school for potential supervillains so it sort of tapers off again.

And then... there's the piece of shit dad he killed in Cheer in 2021.

Batman: Urban Legends (2021) #1

As far as I'm aware, that's the last time he killed in main continuity.

When will my son return from the war

[talxns]

I think if Dick was a girl people would be okay with shipping him and Bruce.

Thank you so much for the ask, this is a great discussion topic. Here is the thing.

If Dick had his same exact backstory and Bruce took him in when he was 8-10 but the only difference was that Dick was a girl -- I think most people nowadays would not be "okay" with shipping it. I think people would still say that it is a weird and creepy age gap, that it's predatory, that it's grooming, etc etc. The vast majority of Batman fans currently have this view on Bruce and Barbara's relationship, and felt pretty digusted when the Killing Joke movie came out.

Pre-antishipping culture (before 2015?), I don't think people would have been too up in arms about it. I mean, Bruce and Barbara have canonically had relationships in many different mediums prior to the Killing Joke movie (it was hinted at in Batman Beyond, not to mention the atrocious pregnancy thing in the BtAS comics ((curse you bruce timm)), and even in the 60s show, Bruce and Barbara were going on dates and seeing each other romantically) and I don't think there was much uproar about it those days.

But the difference is that, had Dick been a girl, Brudick would ABSOLUTELY, WITHOUT A DOUBT, have been canon in DC media at many points in time. In like multiple iterations. In comic runs, in TV shows, in movies, in games. This I am absolutely certain. There would be some comic where they would have kids together that are no longer canon in modern times. DC would have absolutely made it a whole thing. They would have played with the ages as they did with Barbara, aging Dick older or Bruce younger to make it work better, would have changed the circumstances of how they met to somehow make a romance work. It would have happened, at the very least.

Like I've said in other posts, DC does not care about age gaps. They care about making sure Bruce isn't gay.

[batmanfruitloops]

Alright long but silly post, going into the reason why the furry versions are the animals they are. A few choices are influenced by the Teenage Mutant Ninja Turtles v.s. Batman, some choices are already associated with the character (Catwoman, Penguin, etc.). Most choices are an uneven mix of visual, symbolic, and behavioral. So some have more thought put into them than others but it's all for fun.

Batman (Bruce Wayne) -Vampire bat

A pretty obvious choice. I think specifically a vampire bat is fitting, they are very stealthy and aware. They come built with the perfect tools for lapping blood and cause little harm (excluding diseases). Just as Batman always comes with what he needs and only causes as much damage as necessary. Bats are also social creatures and thrive in groups, so there is a bit of irony there. Bruce can put on a good face for the public and business but isolates himself and therefore goes against his nature. He craves family but keeps his loved ones at arm's length in fear of losing them.

Joker (John Doe) - Red-banded spitting cobra

This is a choice influenced by the TMNT v.s. Batman. Also haha Lego Batman clown snakes. I chose this because I'm tired of both snakes and clowns being seen as evil. John is already the way he is because both Sarsee and I agree clowns should be silly and whimsical instead of how more modern media portrays them as creepy and scary, which also includes the Joker. Snakes are my favorite animals. So keeping Joker as a cobra represents what we have set out to do with the au in the first place.

In terms of behavior, John acts mostly the opposite of what you would expect. Snakes are mostly solitary and overall not very social. John is a very outgoing person and extraverted, but he's social skills are stunned from both being autistic and his childhood. So not quite fitting in but he enjoys standing out. Though cobras are a more intelligent species of snake. John is very clever but most wouldn't guess that. As the Joker, John relies on the element of surprise and subverting your expectations. As a bonus spitting venom is similar to a clown's flower spraying water.

Two-Face (Harvey Dent) - Puma

A partial TMNT chose. Instead of just a cat, I went with a puma. Pumas are not classified as big cats but are the largest cat in North America. Despite not being a big cat their presence demands respect. Even when you do not see them if you are in their territory you would be wise to be careful. Pumas know how to pick their fights, taking on challenges with strategy and retreating when they know they are outmatched.

I think these things fit Harvey and Two-Face quite well. He may not be as high on the social ladder as say, Bruce, but he is no less of an important figure in his community. You know when he is in the room and you think about him when he isn't there. He is intelligent and strategic. He's never to be underestimated and most fear and or respect him. These things apply as a rogue or as a candidate. These strengths are what put a target on his back and thus becoming Two-Face. I also do not know enough about this but pumas are not as solitary as other cats. Which fit with Harvey's ambivert personality.

Harley Quinn (Harleen Quinzel) - Spotted Hyena

This one is also an obvious one I would think. Spotted hyenas are a matrical species, meaning the females are in charge. Harley as a character I think usually represents feminine strength at least in recent years. Hyenas are very strong, they take what they want and fiercely protect what is theirs. They have a nasty reputation but live in a pretty unforgiving environment. Hyenas actually do hunt and have to protect their prizes from animals like lions. They have good reason to be the way they are.

Harley is a pretty unpleasant person but she has her reasons. Having dealt with a lot throughout her life. Her actions come from a place of pain though ruthless. She is not satisfied with what she does at the end of the day. She knows she has a lot work to do and a lot to figure out. Scary as she is.

Poison Ivy (Pamela Isley)- Orchid mantis

Another animal associated with feminine power. Mantis are fierce and confident, they stand their ground even against other animals much bigger than they are. They are not very fast and can't fly very well, but are a top insect predator. They have no need to chase, just sit and wait until the opportunity to strike comes to them. Of course, they have the reputation of eating the head of their mates, but that's actually common for insects. Still fitting.

Ivy is a powerful person literally and personality-wise. She has incredible control of her environment as long as there are any plants around. She is beautiful and deadly. Anyone who can get close to her is very lucky. She's pretty content keeping to herself and her plants and is laid back when she is comfortable. She takes opportunities when they are presented to her with full force. Best stay on her good side and give her space. She makes a wonderful mantis.

Bane (Antonio Diego) - Grizzly bear

Bears are incredibly strong but it's not just brawn they have brain too. Bane is not just a brute, he knows how to use his strength well and is incredibly strategic. A bear can be a very scary animal but also fun to observe. Some find them cute, and some find them terrifying. Bane also comes off in a similar way, it just depends on what you know about him. He is someone you can have deep and philosophical conversations with but most would be too scared to approach him. Unfortunately, his addiction makes him unpredictable and behave in a way he would not want to. Bane does have a code he follows and will return the respect you give him. Just a bear will respect your space if you know how to behave in their territory.

Catwoman (Selina Kyle) - Domsitic long-hair cat

Yeah, Catwoman is meant to be a cat in person form so, I don't think there is much to explain. She comes and goes as she pleases and does what she wants. She likes to bother those with no interest in her. The whole shebang. Not bad but not good, just her own brand.

Mad Hatter (Jervis Tetch) - Arctic hare

Arctic hares are one of the largest species of hare. They mainly live alone but come together for warmth and mating. I'm still not too sure about this, I haven't found much on this yet but it seems like rabbits are much more territorially and aggressive than hares. Either way, most think Jervis is a rabbit and not a hare, because of his height and demeanor. Hares are often seen as crazy and generally have a wild reputation, and Jervis is pretty demure. This instead comes out as passion for the things he loves. However, if he is pushed too far all of his pent-up emotions and frustrations will come out in an explosive response. Despite his appearance, he's very fit and strong. He has metabolic issues that make it difficult to lose weight so in his efforts to lose it he instead makes himself stronger. A similar effect to powerlifters. I thought specifically an Arctic hare was fitting because of this reason, as an arctic animal it's incredibly important for them to gain weight to survive the harsh weather. Something that others believe including Jervis himself thinks is a weakness actually becomes a strength. He does become more comfortable with himself eventually, but he has a lot of trauma to overcome to fix his own self-image.

Riddler (Edward Nigma) - Domestic rat

Rats are very social and intelligent. Despite media depictions, they keep themselves clean and are very affectionate. Ed is very much an extrovert and hates being alone, though he can be overbearing at times he loves those close to him very much and gives as much as he takes. Rats are great at getting around being able to squeeze into most places and can tread water for a long time (ironically Ed cannot swim). Ed can also squirm his way into anything be it physically or finding information. Rats enjoy causing mischief and are often high-energy, they need a lot of enrichment. Ed is functioning at 100% and crashes to 0% once he's out of energy, he has to keep himself busy and do little evil genius tasks until he's completely exhausted himself.

(I drew these on stream and Marxtheimpish asked to give Ed a cheerio, and Jervis lettuce, Ed is mad he only got one single cheerio.)

Scarecrow (Jonathan Crane) - Milksnake

A pretty biased pick since I mentioned snakes are my favorite animal, and Scarecrow is my favorite rogue but I have a good reason for my choice. First of all, as someone raised in the South, I associate milk snakes (and therefore corn snakes and rat snakes) with the country. They can often be found on farms and are great pest control and that also makes me also associate them with scarecrows. Milksnakes mimic coral snakes to scare away predators. Jonathan does something similar and comes off as scary and intimating but for the sake of his own protection. Snakes really want to be left alone and so does Jonathan. Snakes are often misunderstood and seen as something evil (especially by some religious people), but they are anxious skittish creatures and will stay out of your way. The religious association is another reason I picked a snake. Most people assume the worst in Jonathan because of his appearance and aloof disposition. He's pretty tired of trying to prove them wrong and has convinced himself he can't be anything else. But know this, there is no such thing as an offensive snake there are only defensive snakes.

Music Meister (Darius Chapel) - Golden-breasted starling

This one is mostly a visual choice. Darius is a pretty boy so of course he should be a pretty bird. Starlings are also a songbird and incredible at mimicking sounds. Just as Darius is an incredible singer and has a wide range of expressing himself musically. I think starlings are sometimes seen as pests or nuisance, I've only heard that in passing. If that's true that fits with Darius. Some people find him annoying but he's a very pleasant person.

Polkadot man (Abner Krill) - Spotted newt

Spotted newts are poisonous and their spots and color advertise that. Just as Abner has dangerous spots. This is mainly the reason why I chose a newt for Abner. I think aposematism, when an animal is colorful because it is toxic, is a really cool thing that happens in nature. I couldn't pass up the chance. Newts are also very cute and humble animals so all the more reason.

Mr.Freeze (Viktor Fries) - Polar bear

Of course, Viktor is a polar bear. Polar bears are solitary animals, especially the males. They only need themselves, and can only afford to care for themselves in the environment they live in. Viktor is a very independent person. He's confident in his abilities and can do almost anything by himself. Nora is an arctic fox, I bring this up because arctic foxes often follow polar bears around. So they are a perfect match. Polar bears are very formidable, you do not want to get in Viktor's way. Though he may seem cold, he is a good person with a big heart.

The Penguin (Ozwald Cobblepot) - Emperor penguin

Yeah, penguin. Emperor penguins care very deeply for their families and don't much care for anyone else. They will brave harsh weather and dangerous waters all for the sake of their families. Oz does not like anyone besides his family. He'll go through any extreme he needs to, no questions asked. Just a cranky old man that wants to give his loved ones a good life.

I'm much better at expressing myself visually than verbally so I'm not sure if this was comprehensive enough. I don't feel like I got out what I had in my head properly. So please feel free to ask any questions. Also, most of these facts are from my memory and may be inaccurate, but I did my best to fact-check myself when I was unsure of something. So if I got something wrong please correct me, I love learning more about animals. Otherwise, enjoy this word vomit infodump.

-Fluffy

[thekillingvote]

No Birds Allowed: Batman without Robin

The usual claim is that Jason Todd was singularly hated by audiences. Dick Grayson, Carrie Kelley, and Tim Drake are proper, beloved Robins—and Jason Todd is the one and only outlier so unlikable that audiences killed him off by popular vote.

But this claim ignores a massive piece of the puzzle—the Robin role has long been treated as an outdated remnant of a childish era, not only by a significant share of Batman fans, but also by Batman creative teams. While there were definitely fans who hated Jason Todd, he was at least partly chosen to be killed as a scapegoat for some long-standing complaints about the Robin role in Batman stories.

The 1988 poll to kill Jason Todd wasn't just a poll to kill Jason Todd—the poll to kill Robin was a poll to kill Robin.

Fan letters columns from Batman #221 and Detective Comics #398, reacting to Dick leaving for Hudson University in Batman #217 (1969):

Denny O'Neil Batman/Detective Comics writer (1970-1980) Batman group editor (1986-2000) on sending Robin away to Hudson University:

Dan Greenfield: Actually, last night I went back through my comics and the one thing that always strikes me is that before you came onto the character, they’d already made the decision to have Robin leave. Robin was up at Hudson University and was used sparingly from that point forward. Denny O’Neil: Well, that was a conscious decision of mine. Greenfield: Oh! O’Neil: Yeah, I mean … I had been offered Batman a year before I did it. Greenfield: No kidding? I wanna hear this. O’Neil: Because that was in the (Batman TV show) camp thing. The comics were very half-heartedly following in the footsteps of the camp because it was having a palpable effect on circulation. That’s not always true but it was in that case. Camp as in the sense — as opposed to the more erudite sense — this one-line joke about: “I loved this stuff when I was 6 and now that I’m 28 and I have a bi-weekly appointment with a therapist and a little, mild drug habit and two divorces, ‘Look how silly it is.'” I would go into the most literary bar in Greenwich Village on (Wednesday) or Thursday evenings and there would be writers and poets and college professors, all looking at Batman! But when that was over, it was over. It was like somebody turned a switch. And that’s when (editor) Julie (Schwartz) said, in his avuncular way, did I have any ideas for Batman? And at that point, I wasn’t going to be asked to do camp. I was going to be asked to do anything within the bounds of good taste, etc., that I wanted to.

O'Neil, quoted from “Notes from the Batcave: An Interview with Dennis O’Neil” in The Many Lives of The Batman: Critical Approaches to a Superhero and His Media:

There was a time right before I took over as Batman editor when he seemed to be much closer to a family man, much closer to a nice guy. He seemed to have a love life and he seemed to be very paternal towards Robin. My version is a lot nastier than that. He has a lot more edge to him.

O'Neil in 2015:

Modern Batman does not do camp. He has to evolve but to stay true to the concept he has to stay lonely. The kids, there shouldn't be many. Keep him the lone, obsessed crusader and the stories will be better. We did a story called Son of the Demon. It told a story where he had a kid, a baby. It wasn't in continuity. These days, the kid came back and became the new Robin, and I hear that Batman's got a few more running around.

Jim Starlin, Batman writer (1987-1988), writer of A Death in the Family:

I tried to avoid using [Robin] as much as I could. In most of my early Batman stories, he doesn’t appear. Eventually Denny asked me to do a specific Robin story, which I did, and I guess it went over fairly well from what I understand. But I wasn’t crazy about Robin.

I thought that going out and fighting crime in a grey and black outfit while you send out a kid in primary colors was kind of like child abuse. So when I started working on Batman, I was always leaving Robin out of the stories, and Denny O’Neil who is the editor finally said, "You gotta put [Robin] in."

In the one Batman issue I wrote with Robin featured, I had him do something underhanded, as I recall. Denny had told me that the character was very unpopular with fans, so I decided to play on that dislike. [...] At that time, DC had this idea that they were gonna do an AIDS education book, and so they put a box out and wanted everybody to put in suggestions of who should contract AIDS and perish in the comics. I stuffed it with Robin. They realized it was all my handwriting so they ended up throwing all my things out. About six months later, Denny came up with this idea of the call-in thing. [...] I didn’t find out about it until I came back [from Mexico] and found out that, just as I expected, my ghoulish little fans voted him dead. But by a much smaller margin than I’d imagined. It was only like 72 votes out of 10,000, so statistically it was next to nothing.

Dan Raspler, assistant editor/associate editor to Denny O’Neil (1988-1990):

Denny wasn’t really interested in comics continuity, and he didn’t like superheroes. And if you read his work, you see his influence was really a pushing away from the conventions at the time—it was growing old, that sort of Golden Age-y, Silver Age-y stuff, and Denny sort of modernized it, and he never stopped feeling that way. Jim Starlin’s Batman appealed to Denny. It was a little more ‘down to Earth. Nobody liked Robin at the time. For a while Robin was not—it didn’t make sense in comics. Comics were darkening, and so having the kid was just, it was silly, and even at the time I kind of didn’t. Now Robin is my favorite all-time character, but at the time when I was twenty-whatever, I accepted kicking Robin out, the short pants and all the rest of it.

Comic shop owner Phil Beracha on A Death in the Family, quoted in The Sun Sentinel (October 22, 1988):

"I got 100 copies, and I don't expect them to last past the weekend," said Phil Beracha, owner of Phil's Comic Shoppe in Margate. "I usually get 50 copies of Batman. I doubled my order, and I still expect to sell out." The readers voted right, Beracha said. "Robin is an outdated concept. He was created in the `40s, and back then in a comic book you could have a kid beating up grown men. I don't think that works today."

Writer Steve Englehart, quoted in "Batman, the Gamble; Warner Bros. is betting big money that a 50-year-old comic book vigilante will be a `hero for our times'" in the Los Angeles Times (June 18, 1989):

Writer Steven Englehart, who did a series of Batman stories in Detective Comics, also worked up some movie treatments. In a letter to Comics Buyer's Guide, he revealed the approach he had in mind, which would have pleased Batfanatics: "My first treatment had Robin getting blown away in the first 90 seconds, so that every reviewer in the country would begin his review with, `This sure isn't the TV show.' "

Michael Uslan, producer and film rights holder for the 1989 Batman film:

I only let Tim [Burton] see the original year of the Bob Kane/Bill Finger run, up until the time that Robin was introduced. I showed him the Steve Englehart/Marshall Rogers and the Neal Adams/Denny O'Neil stories. My biggest fear was that somehow Tim would get hold of the campiest Batman comics and then where would we be?

"Death Knell for the Campy Crusader" in the Orlando Sentinel (23 June 1989):

For most people, the name Batman summons up a picture of a clown in long johns, a Campy Crusader who - with the young punster Robin - ZAPed and POWed his way into our lives. That's the Batman that appeared on TV in the mid-'60s, and that's the Batman that the world at large knows. Such is the power of television. But this ludicrous image may become obsolete now that the new, $40 million Batman movie has opened. Robin is absent from the film, as are the perky Batgirl and the utterly superfluous Aunt Harriet of the TV series. And though the movie has plenty of sound effects, they don't appear on the screen as words, spelled out in neo-Brechtian absurdity.

Sam Hamm, writer for Batman (1989 live-action film):

The Case of the Disappearing Robin is high comedy. Tim (Burton) and I had worked out a plotline that did not include the Boy Wonder, whom we both regarded as an unnecessary intrusion. Really: Our hero was crazy to begin with. Did he have to prove it by enlisting a pimply adolescent to help him fight crime? Was Bat-Baby unavailable? But the studio was insistent: There was no such thing as solo Batman, there was only Batman and Robin. So, after holding off the executives for as long as we could, Tim and I realized we had better try to accommodate them. He flew up to my house in San Francisco and we walked around in circles for two days, finally deciding that there was no way to shoehorn Robin into our story. [...] We figured that if we managed to squeeze him in, the lame hacks who were making the sequel could worry about what to do with him next. When the film went into production in London, and ran seriously over budget, WB started looking for a sequence that could be cut to save money. And there was one obvious candidate: Intro Robin! So Robin was cut from the movie and shoved back to Batman Returns— from which he was cut yet again and shoved back to Batman Forever.

Grant Morrison on creating Arkham Asylum: A Serious House on Serious Earth (written 1987-1988, published 1989) with Dave McKean (see the annotated script's fourth page):

The original first draft of the script included Robin. Robin appeared in a few scenes at the beginning then remained at Police Headquarters for the bulk of the book, where he spent his time studying plans and histories of the house, in order to find a way in to help his mentor. Dave McKean, however, felt that he had already compromised his artistic integrity sufficiently by drawing Batman and refused point blank over for the Boy Wonder — so after one brave but ridiculous attempt to put him in a trench coat, I wisely removed him from the script.

Paul Dini on Batman: The Animated Series (1992), as told in the 1998 book Batman Animated:

The Fox Network, on the assumption that kids won't watch a kid’s show unless kids are in it, soon began insisting that Robin be prominently featured in every episode. When Fox changed the title from Batman: The Animated Series to The Adventures of Batman & Robin, they laid down the law-no story premise was to be considered unless it was either a Robin story or one in which the Boy Wonder played a key role. Out were underworld character studies like “It's Never Too Late"; in were traditional Batman and Robin escapades like “The Lion and the Unicorn.” A potentially intriguing Catwoman/Black Canary team-up was interrupted in midpitch to the network by their demand, “Where's Robin?” When the writers asked if they could omit Robin from just this one episode, Fox obliged by omitting the entire story. Looking back, there was nothing drastically wrong with Robin's full-time insertion into the series—after all, kids do love him. Our major gripe at the time was that it started turning the series into the predictable Batman and Robin show people had initially expected it would be. For the first season, Batman had been an experiment we weren't sure would work. We were trying out different ways of telling all kinds of stories with Batman as our only constant. For better or worse, having a kid forced him, and the series, to settle down.

Christian Bale, star of Christopher Nolan's The Dark Knight trilogy (2008):

If Robin crops up in one of the new Batman films, I'll be chaining myself up somewhere and refusing to go to work.

Summed up

Among the keepers of Batman, there has been a vocal contingent arguing against the inclusion of Robin. They argue that Robin damages Batman's brooding, solitary persona. They argue that the concept of Robin is too ridiculous and fantastic for the grounded, gritty ideal of Batman. They argue that a respectable version of Batman shouldn't allow, encourage, or train "child soldiers" to endanger their lives fighting against violent evil-doers.

The original and most iconic Robin, Dick Grayson, has definitely benefited from his deep roots in DC lore and his consistent popularity among fans—and yet even he has been shunned from various Batman projects over the decades. When even he struggles to get his foot in the door, his successors face stiffer opposition.

So it's not quite correct to say that Jim Starlin hated Jason Todd. In his own words, Starlin wasn't fond of Robin, and his storytelling (most obviously A Death in the Family) set out to argue against Batman having any kind of "partner" at all. This, following the wildly successful comic that treated Barbara Gordon as a disposable prop. A growing audience welcomed the Dark Age, and the gruesome spectacles made of kid-friendly elements like Batgirl and Robin.

This trend could be broken by the upcoming sequel to The Batman and by the planned slate of upcoming DCU films. But most Robin fans will tell you that many movie-going Batman fans still have their doubts about Robin sharing Batman's spotlight.

[that-ari-blogger]

"Do you want to know a secret?" (The Portal)

I think that the rules of writing are overblown.

Don’t get me wrong, there are things you should and shouldn’t do when telling a story, but those are more guidelines than actual rules.

Case and point, She-Ra is a story predicated on repetition, which shouldn’t be as entertaining as it is. The “bad ending” is effectively another season, which is a unique premise, and a threat that the story absolutely delivers on multiple times.

But, to me at least, the story is enthralling, and keeps me coming back to it. It works, not despite its repetition, but because of it.

Although, that isn’t exactly true. I’ve described the story as cyclical before, but it isn’t entirely. It’s a spiral, because the cycle of abuse is an innately unstable dynamic, and will only end in tragedy if it isn’t broken.

If you don’t want to take my word for this, I give you the season 3 finale, The Portal, which spells out the series’ thesis in about as blunt of a way as is possible.

Let me explain.

SPOILERS AHEAD: (She-Ra and the Princesses of Power, Watchmen, Batman: The Killing Joke, Superman: For The Man Who Has Everything, Justice League Unlimited)

I grew up reading Alan Moore comics, and if you don’t know who that is, I both pity you and envy you. Alan Moore is one of the most misrepresented writers of the modern age, and its entirely his own fault.

Moore is known for writing V For Vendetta, The Killing Joke, and Watchmen, all of which have a distinctly grim tone. He is one of those writers who seems to care more about the story he is telling than how much people enjoy it, and so he usually has a point to make.

Unfortunately, we end up with the Cyber Punk dilemma, in which Alan Moore’s genuinely unrivalled literary talent leads to people really enjoying his stories, which means they unintentionally miss the actual themes of those stories. In the case of Watchmen, this led to people seeing the gore and the violence and the depression and trying to replicate that.

This is where we get The Boys from, shallow sadness and spectacle. If that’s your thing, go for it, but it isn’t mine.

But I bring up Moore in a discussion of She-Ra for a reason, and that is the relentless hope inherent in his writing. In Moore’s stories, hope prevails every single time, with the only exception being extremely subjective. The Killing Joke focuses on the idea that everyone is one bad day away from becoming evil, and that gets proven wrong. Watchmen is about how small humans are and how annihilation changes people, yet the characters are able to find joy and an escape from their trauma, and show kindness to each other even when the sky almost literally falls on their heads.

The Boys isn’t very good as an adaptation of Moore’s themes (In my opinion). If you want one that actually understands the source material, watch The Incredibles, or Justice League Unlimited, or She-Ra and the Princesses of Power.

I have praised She-Ra for its animation and pacing, as well as its overarching story, but I think its greatest strength is its humanity. Characters in She-Ra are incredibly fragile, psychologically, and yet they are incredibly resilient.

Catra and Adora’s development gets methodically and efficiently destroyed by Shadow Weaver, and yet Adora becomes a hero and Catra… well, we’ll see how that works out in later seasons.

One of my favourite Moore stories is a superman story from 1985 called For The Man Who Has Everything. This was adapted into an episode of Justice League Unlimited, but I prefer the comic.

The story follows Superman being forced to live out his greatest desire. It doesn’t sound that bad, but the point is that he is kept happy and therefore out of the picture while villains can do villain things. It’s very much a story from its time, and I love it.

Interestingly, however, Superman’s dream takes him back to Krypton, where he isn’t Superman, and he is happy. He has a wife, and a son, and he never lost anything. He can spend time with his parents.

Even with the shenanigans that ensue (because this is a comic), his time in this dream is fun, and relaxing. Until he works out he’s dreaming, and has to let it go. Superman gets the choice of happiness, or duty, and he takes duty.

The scene in which he says goodbye to his “son”, who does not exist and therefore does not matter, is heartbreaking, and if I ever do comic reviews, I’m talking about this one first.

I now turn your gaze to queen Angella, from whose perspective this story is being told.

The episode actually does a bit of a bait and switch with the point of view, convincing its audience that it is about either Glimmer or Bow, and it kind of is, but not entirely.

Angella has everything she could possibly want, her daughter, her husband, her city. There is no war, there is nothing. Everything is perfect.

“This is perfect, my love, but it’s not real. I remember now. I miss you so much, but Glimmer needs my help, and I can’t stay with nothing but memories. Goodbye Micah”

Does this ring any bells?

I want to point out that this is still Catra’s hallucination, the thing that she wants. So why does she want Angella and Glimmer to be happy?

Catra wants Adora, and arguably loves her, but in an extremely dysfunctional way that says "if I can't have her, nobody can". She is petty, and fully the villain in this episode.

So, the way that she gets Adora to be hers is by ensuring that the people who accepted her would have no space for her in their lives. Why would Glimmer want to spend time with Adora? She has her father. Why would Angella accept Adora? She has her family.

What Catra doesn’t understand is that love isn’t transactional, and that these people are genuinely kind and accepting.

There's the idea of "what you are in the dark." The concept of what a person does when there are no consequences. Characters in this episode keep getting moments like this, when they know that they are fading from existence, and are given moments to show their true colours. Entrapta chooses to be grateful, Bow chooses to be reassuring, and Glimmer chooses to be emotional.

The thing that breaks people out of Catra’s reality is the unexpected. Its Catra’s lack of understanding of people that leads to those people being themselves and instinctively breaking free.

Case and point, Angella and Glimmer help Adora, and because this world was completely unprepared for that minour act of kindness, it can’t keep them contained.

Now, I know what scene you are expecting me to talk about, so I’m going to make you wait, and talk about Catra instead.

Catra is the villain of this episode. If it wasn’t for this being set in her mind, she would have zero nuance. By which I mean, everything about her as a character here is done externally, the way she acts makes her seem like a generic, abusive partner.

Because let me be clear about Catra’s actions here. This is abuse, and it is treated as such by the story. The show doesn’t make apologies for her in this episode, or try to justify it here. Subtlety be damned here, Catra is abusive.

And so, I will read her this way, for this episode. We have seen the nuance leading up to this moment, and we will see a redemption arc. But this is Catra at her lowest, and so I will put aside the past and future to examine the present and the present only. Catra is abusive.

There are two ways you could read this drop in subtlety. One, there are parts of this character that you aren’t seeing, left blank. This episode is presenting you with a character and not showing you the whole thing. Or two, this is a character who has been broken by the story, almost as if parts of her have been removed or lost. Catra is now a fragment of her former self.

I wonder if any of this is reflected in her character design.

“If you hadn’t gotten captured, your sword wouldn’t have opened the portal. If you hadn’t gotten the sword and been the world’s worst She-Ra, none of this would have happened. Admit it Adora, the world would still be standing if you had never come through that portal in the first place.”

This hurts Adora because it’s true. Ok that’s unfair, and inaccurate, but it’s not entirely wrong, and that’s the kicker.

Catra isn’t making this up, she’s just leaving out important details. Because of course, if Adora hadn’t been captured, things would have worked out better, but who was it that captured her? Who was it that made the choice to pull the switch? Who was it that destroyed the world out of spite?

Catra blames Adora for her own actions, and that is, once again, abuse. Which is why it’s so satisfying when Adora stands up for herself.

“I didn’t make you pull the switch. I didn’t make you do anything. I didn’t break the world. But I am gonna fix it.”

Hope is relentless.

But I also want to point out the claiming of agency here. Catra was weirdly insightful at the start of her monologue.

“It's always the same with you, Adora. ‘I have to do this. Oh, we have to do that.’”

Adora’s word choice is a flaw. I looked back at the past few seasons and did a word search through the scripts. I don’t think Adora uses the word “want” more than once at all up to this point.

Essentially, Catra sees things, but extrapolates exactly the wrong message from it. It’s almost as if she’s only seeing half of the world, like her vision is impaired or incomplete somehow.

I wonder if that is reflected in her character design.

In any case, Adora frequently says that she “has to” do things. “Need” is also something she says a lot, and this has the effect of making her an extremely passive character in her own story.

Like I said, this is a moment of agency, but the entire story is a story about that agency. The characters are making choices to either get out of or go along with the downward spiral that the tragic form has set out for them. Catra made the choice to follow, but Adora didn’t. Adora’s word choice makes her look like she has made no choice, but a lack of action is still a decision.

So here, when Adora declares she is “gonna fix it", she takes her agency and decides to walk in a different direction.

This reminds me of an earlier episode, that being Promise.

Hey, look at that action. Looks familiar, right?

This is the only episode I found where Adora says she wants something, although her actual wording is “I never wanted to leave you” when talking to Catra. Go figure.

The moment in question was the episode’s namesake.

“It doesn't matter what they do to us, you know? You look out for me, and I look out for you. Nothing really bad can happen as long as we have each other.” “You promise?” “I promise.”

Agency. Adora is making a decision to stay with Catra and protect her. She is knowingly choosing to do something.

It’s telling that the two most prominent times Adora has done this have been to protect people. It’s almost as if she wants to be useful, or helpful, or protective. Almost as if she wants to be wanted. It would seem Adora is just as addicted to the highs of Shadow Weaver’s programming as Catra, she just has a better support group.

Although this isn’t a full victory, she doesn’t want to save the world, she is just going to, – we still don’t know what Adora wants – this is a partial success. Hold onto that idea, it will come back later.

“Do you want to know a secret? I am a coward. I've always been the queen who stays behind. Micah was the brave one. And then Glimmer, oh, Glimmer. So much like her father. And once again I stayed behind, letting her make the hard choices, letting her be brave for me. I told myself I was being responsible, but, Adora, I was just scared. And then I met you. You inspired us. You inspired me. Not because it was your destiny, but because you never let fear stop you. And now I choose to be brave.”

Queen Angella is voiced by Reshma Shetty. She doesn’t get much praise, but for this monologue, I think she deserves so much more than she got.

In my fourth post about She-Ra, I discussed Adora’s ability to inspire and linked her to Batman, something I stand by to this day.

In universe, She-Ra isn’t important because she’s a warrior. She exists as a leader, to protect people and pull them into a greater tomorrow. She shines a light for others to follow.

That is what happens in The Portal, Adora succeeds not by fighting the enemy, but by being herself. She only becomes She-Ra to destroy the portal at the end. To save Etheria, the giant sword lady isn’t important.

I mentioned earlier that humans are fragile and resilient at the same time, and I give you Angella as evidence for that claim. Here is someone who has lost her husband, and makes decisions based on that fear and trauma. But when push comes to shove, the fear is secondary.

Reality falling apart lets directors get away with true nonsense. Micah's staff has no reason to be here, other than the fact that it makes a phenomenal metaphor for Angella's trauma. But that's all you need.

Jon Pertwee was the third doctor, and while he isn’t nearly as iconic or influential as some of his predecessors and successors, he did deliver the line that defined the whole series.

“Courage isn't just a matter of not being frightened, you know. It's being afraid and doing what you have to do anyway.”

I started my discussion of this season by claiming that this is the season in which the characters put a dent the tragic cycle, and I have mentioned several times that the cycle of abuse is unstable. So, here is my thesis.

Catra’s arc fails, not in a story sense, but in a personal one. The idea that every character has a single story arc is something is a specific bugbear of mine, and Catra is kind of my case and point for that. She has a redemption arc up to this point, and she ends up as a villain. Then the story continues and she has to start again and decide where to go next. She has no choice but to move in a different direction from here.

But she tasted redemption already. The crimson wastes gave her a taste of what she is missing, and it offered her an out. It gave her a choice, she made one, and consequences were served. I can’t help but imagine that for the entirety of the next season, she is considering running off to the wastes again.

That idea of consequences comes back with Adora, who makes a good decision, and is rewarded for it. Or rather, she makes a decision to actually do something. Adora becomes an active character, and that is what starts to break the cycle. Because now the motion is halted, and the puppets are pulling the strings.

But, this isn’t a complete victory. Angella is lost, Entrapta and Micah are still gone, none of the villains actually get defeated. For an episode with lasting consequences, not much actually happened.

This episode is big on the fact that this is all a dream, which should destroy the engagement. But it doesn’t. In reality, it preserves the status quo physically, but lets all the characters spontaneously experience character development. The victory of this season is that growth, but it came at a cost.

I want to briefly talk about that final shot, before I go, because this is how you introduce a villain. Sure, the voice acting is impeccable, and the cinematography gives an air of mystery and menace to this threat, but the showstopper is the reveal that this villain can destroy a moon with ease.

You see a fleet of ships, there was no battle here, just a villain showing off for nobody but himself. He gets interrupted by the plot, and he’s busy DESTROYING A MOON.

Horde Prime is f***ing terrifying.

This scene is in this episode too. It's meant to show how reality is falling apart, but I actually have a reading of why it's here. I think Catra wanted to preserve who Adora was, hence why she is the source of all the paradoxes. But Catra doesn't understand that Mara's legacy and Razz's teaching are a big part of Adora.

Final Thoughts

I’m going to talk about the implications for later seasons for a moment here, so if you’re avoiding spoilers, now you know.

I think Catra being the villain here makes her redemption so much more compelling, because she actually needs it. There is a difference between this and, for example, Hunter from The Owl House, who doesn’t really need redemption because he hasn’t done anything wrong.

Catra here has very much done wrong and is evil as defined by the show. But the show’s message is that anyone can change, and that the cycle of abuse isn’t set in stone.

So, Catra will redeem herself, and she will struggle, and fall back, and try again. Forgive her or not, the redemption is the effort to be better.

Next week (or whenever the next post is released, I have a terrible work schedule), I will be discussing The Coronation, so stick around if that interests you.

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[txttletale]

omg is this about that post that goes "the superhero myth is about using the gifts you’ve been given to enrich the people around you, never asking for payment, never advancing an ulterior motive" and how that's the fantasy readers want? To help people??? I admit, it made me feel a little tingly inside, but then I remember that most people reblogging that post enjoy the stories because they care about the relationships and dynamics between the named, reoccuring characters, not about nameless victim of the week, if that. idk, i'm still learning leftist things, but that post, it makes me roll my eyes a bit. No hate to any comic fans or reblogs or anyone-- just saying.

yeah i mean it's correct in identifying a core element of the emotional appeal of -- not all superheroes, perhaps not even most superheroes, but superman et al. at least. and obviously "you should help people who need help" on, like, an interpersonal level, is one of the most unobjectionable stances you could have or promote. but attempting to draw the line between that and "leftist" (whatever that means) politics is just total nonsense. like the exact same ethos is present in and central to chivalric knighthood stories, which are literally propaganda for feudalism so effective that people still romanticise feudal aristocracy to this day.

that post also vastly misrepresents / simplifies to inanity the leftwing critiques of the superhero, which are not just the on its face false "superheroes are an authoritarian¹ power fantasy". although in their modern incarnations many depictions of superheroes are in fact blatant right wing power fantasies of unlimited extrajudicial violence against a criminal underclass (e.g. the nolan batman films), there are much more substantive critiques to be made in the naked individualism baked into the premise and into the fact that superheroes serve near universally to forcefully uphold the status quo (and quite often the actual law)

¹ like "leftist", a meaningless word

[coupleoffanfics]

How would Batsis! y/n become a villain?

I found this while trying to clean up my writing drafts. Not sure when I wrote this, but I decided to post it because why not.

Jerome Route

If she had no friends, that connection with Barbara, or relationship with Jeremiah then Jerome would have a considerably easier time charming y/n. The emotional neglect from the family makes her desperate for any sort of contention leading her right into the hands of Jerome.

The family would believe that y/n can be saved, but she sees them trying to save face. Trying to stop her from telling Jerome all the big bad Batman's secrets by saying they're sorry and that they care. She doesn't end up telling him about their identities because someone has to keep Gotham safe. She's with Jerome, but she doesn't agree with everything he does.

y/n might purposefully sabotage Jerome's schemes. It's not because she cares for the family, no. It's for Batman and his Robins to keep innocent people safe. She keeps the family and their personas separate. At least she'll try to see them as separate.

Her logic is backwards and hypocritical, but frankly she doesn't care enough anymore. All that matters is Jerome's love. Who needs friends or family when you can have Jerome?

y/n and Jerome probably argued over wedding ideas.. Jerome wants a circus theme with a replica of his mom as a pinata. While y/n wants a traditional, elegant wedding. They compromise by letting y/n have that traditional vibe with the ceremony and Jerome can go batshit with the reception.

Jerome never put so much thought into something before and he never wants to do that again.

The Batfamily was not invited of course. The family most likely hears about it or even sends wedding photos. y/n probably has Joker or some other villain walk her down the aisle. Bruce sulks about it for months.

Post-Spray Jeremiah Route

If y/n had no one else besides Jeremiah and her moral compass was cracked. Then of course she's almost going to believe everything he tells her.

There's no denying that Gotham is a modern day Babylon. Yeah, the world would be better without it. Maybe it would be a good thing if we do get rid of it. Yeah, we could rebuild it!

But she'll run into the same problem of not fully following Jeremiah's ideology. At least how he goes about obtaining the goal of cleaning up Gotham. The cult stuff freaks her out a lot. When his followers bow down to her and praise her, she'll tell them to stop but he orders them to do that.

After expressing her discomfort over the cult and the followers' behavior, Jeremiah will distance her from it. Having her become sheltered in the bunker or a manor hidden away in the woods. Meaning the only relationship she can have with anyone who isn't Jeremiah is Ecco. Even then Ecco is  just another follower that was trained to be a guard dog.

This version of y/n wouldn't be too involved compared to the Jerome route. But if Jeremiah was caught and sent to Arkham, y/n is sneaking in to break him out. It could be by disguising herself as a guard or forcefully entering it with full confidence.

The family would try to reason with her if only they could actually talk to her. Again since she's not hands on it's a rarity for them to see her.

The few times they've met face to face was when their hero personas. Jeremiah and Ecco were busy fighting off the others, giving them time to talk. If they try to convince her to leave him, she'll either ignore it or tell them about how he's all she ever had. The only family member that could possibly break through to y/n would probably be Jason or maybe even Barbara.

Jeremiah and y/n get offended when they're compared to Joker and Harley. They'll clearly be different because they have a healthy and loving relationship. People probably come up with the comparison because of his physical appearance and he hates it. They're not wrong when they say their relationship is loving, but it being healthy is debatable.

y/n is more than willing to kill or torture someone if they were to do anything to Jeremiah. Though once again her hands are off, but doesn't mind getting her hands dirty.

y/n is the type to write like love letters and put them into Jeremiah's pocket before he leaves. He's in the middle of fighting Batman and suddenly a pink paper with a red heart border falls out of his pocket. Seeing it makes him scramble to grab it and shove it back into his pocket. He'll read it later.

This y/n might live a more semi-normal life, but probably struggles with loneliness and depression. Since Jeremiah is often working and Ecco is Ecco.

Sprayed Route

The moment y/n realizes what is happening she goes to Jeremiah and contacts Barbara who informs the family. They'd probably find a cure, but for the sake of story and angst let's say they can't.

Everyone is just forced to watch y/n become what essentially a Joker lookalike. Or she could look completely the same, doesn't really matter because they'll all be horrified by the drastic change.

She'd use the knowledge of their identities against them. Dangling it above their heads, but it isn't long before they realize that she isn't going to say anything. Oh, but she's definitely telling Jeremiah all about this. Of course he swears to never tell anyone and he might start working with the family to lock y/n up.

Not only was she endangering herself, but others as well. The best thing for everyone is to lock her up.

If she learns about Jeremiah working against her. She'd be so heartbroken. Violently throwing and smashing everything in the room she was in before coming up with an idea. 'He'd never be against me, they probably forced him to work for them. It's all their fault. They always ruin everything, but I won't let them take him.'

Out of all of the other possible routes this y/n would be the most vindictive. She'll guilt trip the family with her sob stories of their neglect, their personas won't won't react. But she knows they'll be thinking about what she said hours later. She'll spit out insults and won't hold back fighting.

Her once passive and defensive fighting style has completely flipped to almost recklessly aggressive. The only way she'll stop fighting back is if they restrain or knock her out.

Arkham isn't hard for her to adjust to. She'll explain to her few visitors (Jeremiah, Barbara, and Alfred) that it reminds her of Wayne manor. But less lonely.

Barbara and Alfred are the only family members she'll allow to visit her. As she still has a bit of a soft spot for them. Will not admit it, but she's always pleasantly surprised when Babs visits her or Alfred sends her some of his cooking. It almost makes her tear up and feel immense sadness. Just almost.

Probably besties with Riddler or something. Most Arkham inmates know of the name Jeremiah Valeska by how much y/n will mindlessly ramble about him. They also know not to mess with him because they'll be put on top of her shit list.

Masterlist Here

[farshootergotme]

Oh you and your friend make some interesting points about why Bruce adopting Dick so late in his life was a problem. It’s something writers clearly didn’t take into account when the trying to make this scene work while also not letting go of the not being adopted thing plot line while also trying to have their cake too by having Dick and Bruce makeup and finally having Dick be adopted by Bruce.

I know the writer writing Protugal wanted it to be a touching moment between the two of them. But the problem is it isn’t about what Dick wants and it written in a way where Bruce while has good intention offering him the adoption papers, he doesn’t own up to the fact he caused this issue in the first place if I am remembering correctly although I will have double check and reread that scene so take my statement with a grain of salt. Poor communication is truly the worst emery of them all and cough comic book writers loving to hammer in unnecessary drama and conflict even if makes no bloody sense at times or take into account how it effect the characters going forward. 

The thing about what is a good Batman writer is not necessarily if they nail Bruce Wayne and Batman as a whole but rather if they care about Robin as a concept or even like characters Dick Grayson in general. Same goes to Nightwing writers as well you can absolutely love Dick Grayson but do you actually understand Bruce Wayne as a character and are you willing to explore that aspect of their relationship Ie father/son. (Then again some of Nightwing writers do him so bloody dirty it’s honestly mind boggling to me.)

Another thing to think about is how most modern day writers and even some of older best writers from back in day of Batman is that they refuse to let him be wrong or admit he has messed up. Like my god, I like Bruce as character I really do but it’s so frustrating to see how he is treated in modern books like my god just stop the drama already with his family, I’m tired of Batman being regressed to his younger less mature self mentality and acts like he has learned nothing. Why is it so hard to just let him be a flawed but well meaning dad who yes messes up sometimes but is willing to get better and grow as a person because at the end of the day he truly cares about his children.

My problem with Richard getting adopted as an adult is well mainly with how it was handled. It never about what Dick wants if it was the writers would have made Bruce apologise for his failing as a father to him and make it so it’s up to Richard if he decides to forgive him or not because let’s be honest Bruce hurt his eldest son by his selfish actions but Bruce should also just be honest with him about he has always seen him as a son maybe not at first but it grew into that overtime and that he was wrong for assuming how Dick felt about being adopted and should have done sooner in fact he should have done around the same time as Jason. Again he should have done the minute or at least offered it when he and Dick had a heart to heart in the Marv wolf man run at Donna wedding but I don’t know. You know what amusing about his run is before this story was made he refer to Dick as Bruce adopted child early in his run which is an interesting thing to think about or maybe I misremember and it was a different writer altogether. OvO’)

Or maybe we can just skip all the stupid drama of adopting or no adopting bs and just have Bruce adopt Richard as a young teen which gives Dick enough time to think about it and probably change his mind. It also gives them time to bond as father and son, now I am not asking for Bruce to be a perfect father figure mistakes will happen as he learns what it means to be a father figure to Dick. Like come on give me fun and compassionate Batman please I miss him like geez why are the writers afraid to just let Bruce grow and move on from his past to some extent. 

Another to get off my chest with DC is well isn’t time to just retire the whole ward thing because it not really used anymore and might as well change to Dick being a foster child because that is what he is. Like the 2004 cartoon The Batman made this change to just that. Like I get Ward is historically important to Richard but I don’t know. Another thing I wish for is just to let Dick be adopted earlier at this point because the drama of not being adopted is just hurting both Dick and Bruce as characters at this point. 

When you could instead be focusing on why Dick wanting space and independence from Bruce like how his parenting style can be quite old fashioned the strict yet overprotective father figure and how he shows his love through his actions rather then his words. You could also explore how Bruce being a dad with a mental health issue aka ptsd, being kind of a control freak and suffer from self loathing issues and how he thinks he never be a good enough parent to his adopted soon. Effects Dick development and how Dick felt like over-coddled and suppressed by Bruce being overprotective and at times being super critical of his decisions as a young teen and young adult.

Honestly what frustrating about Tom Tyler run of Nightwing is that the scene with Dick and Bruce in the bat cave is so good but the problem is it is not earned because Tom Tyler hasn’t really taken the time to explore Dick’s and Bruce’s relationship as father and son or having the balls to actually explore the nuances of it and gasp let Dick call Bruce out on where he has hurt him and that Bruce needing to take responsibility for his actions as father. 

This is why I hate when people say they aren’t father and son or god damn family because one it makes it out Bruce actions aren’t as bad because they’re just “coworkers/partners” which just gross to me and also takes away Richard agency and why he repels so heavily against Bruce and why he is so upset about not being adopted you can’t just sit there and tell me they’re not family because it’s simply not true because this effects Richard heavily because in his mind he thought he wasn’t good enough to be Bruce’s son and felt replaced. Literally Eldest feeling replaced by the new baby sibling coded right there.

Another thing, I feel people will have come and accept about superhero comics mostly by Marvel and DC is well they’re kinda like fairy tales in a way, writers giving their own spin and takes on the world and the characters that function within it. They only things that keep them connected is how characters themselves and if they develop and grows carries over or sticks within that part of the lore. I also feel that writers are afraid to take big risks like changing how Dick Grayson became Nightwing even though they’re already one or two versions where it doesn’t lead to him fighting with Bruce and getting fired.

Now I am not saying ignore canon completely but I feel you’re at the mercy of the writers or eras of comic book runs and I think people should pick the writers they like rather try to stitch all these different takes and continuities together. Then again, I guess it doesn’t help that most media has Batman alone and completely disregard the concept of Robin or his found family in general and that honestly such a shame because Robin aka Dick Grayson is the reason Batman comics stayed alive for so alive for so long, hell he was created even before blooming Alfred.

Which leads to final point this whole thing about Dick Grayson not being adopted, has made so that is all is ever talked about. Who Dick Grayson the character like what are his goals who he is like yes he relationship with his father figure is important as it what lead him to this pathway and wether he likes or not he can quite similar to Bruce in terms of his beliefs and parts of his personality but also what about his friends the titans or his journey into adulthood and he finds himself that’s more interesting to me. Modern writers what are you doing with Richard he has so much potential and yet it feels like they have no idea on what they want to do with. No more Tony Zuuco no more changing to his backstory leave it alone please it’s fine how it is there is no reason to make it more complicated and by doing that you take away how the parallel between Bruce and Dick backstories 👏👏👏Hot take I know. 

Also, there is nothing wrong with wanting to write Dick and Bruce patching up their relationship as father and son, I love Bruce being a good dad that is trying to best despite being mentally ill himself. But keep in mind how you go about writing Bruce and make sure he faces consequences for his decisions and actions as a parental figure to  Dick Grayson and his other children. 

Oh wow sorry for making another kinda essay in your ask box again. 😅 (Hmm, I could talk about how Dick parents and his lifestyle at the circus effect his personality and how his flaws were already there before Bruce took him in but that probably for another time ha ha.

Anyway, that is enough of my rambles and inner never ending thought of this complicated father and son duo.

Hey, thanks for sharing your thoughts! I personally can agree with a lot that you're saying.

The problem when it comes to writing Dick and Bruce is that their characters are so old that many of the things from the earliest comics would be very different if one wants to write them in a more modern era. But many writers seem to choose to keep things (despite also changing things that are actually alright and should be left alone, but, oh, well...)

I mean, I don't think the drama of Bruce not being able to adopt is all that bad. For example, in one of the origins, there was woman, Sister Mary, who took care of Dick during his time at the orphanage. She mentions doubting Bruce's capabilities as a father because of his reputation as a womanizer, but that she was convinced she'd be good for Dick after talking with him in private.

They could still use this conflict in modern era and how his image as the playboy billionaire could influence the jury's decision to only give him custody of Dick as his new guardian rather than his adoptive father. Plus (I don't remember if it was in the same origin or not) Dick at the beginning wasn't fully ready to have a 'replacement' for his dad, so Bruce would respect that and accept the responsibility as his guardian.

However, here's where I'd say that they screw up; they let the years pass, no mention of adoption whatsoever (despite both clearly growing to see each other as father and son, respectively) and they just leave it at that until, check this out! Jason is adopted! I would assume now the jury is okay with letting him adopt a child because he's proven himself by taking care of Dick all these years. But, yeah, actually, back to Dick, what about him, then?

I don't believe for a second nobody would bring up the adoption issues. Like, if not Bruce or Dick (maybe because they're both afraid of being rejected by the other if they bring it up) why not Alfred? He's not shy about voicing his thoughts to Bruce, and I'm sure he could convince him to have a chat with Dick about a possible adoption because Dick is only getting older and one day it'll be too late to ask.

(Except not apparently because DC wrote Bruce asking a Dick in his early twenty's if he can adopt him which is definitely not late at all! Not to mention they had the first real conversation about adoption years ago, but Bruce just ignored Dick clears desires to be adopted and only brought it up when he thought it was the right time because why make a father that cares also about his son's emotions, am I right?

It just feels like a cheap compensation for all the years they (specially Dick) waited to become an official family. So what if the bond is more important? Maybe Dick wanted the reassurance that no matter what he would still be Bruce's family without meaning the end of their relationship everytime he left the manor to make a life for himself, is that so wrong?)

And it just makes Bruce look so bad when someone comes up with the excuse that "Dick didn't want to be adopted so Bruce was only respecting his wishes". Well, of fucking course he didn't want to get a new father a few weeks after he saw his dad's bloody corpse laying on the floor of the circus! But years later? When he's already learnt to deal with the grief and has found a new family in these two older men that chose to take care of him? What excuse does Bruce have then to not have ever brought it up again? The only 'excuse' I could think of is that he was insecure that he wouldn't be a good father to Dick (or as good as Jhon Grayson) or, as I mentioned before, afraid of being rejected. But this isn't just about him!! And as the adult in the situation he needs to save those feelings for later and communicate with Dick first without coming to any assumptions. What will change from the current relationship, anyway? Other than the security that Bruce can't just get rid of Dick whenever he wants since he's just his guardian and he can pass the responsibility to anyone else which sounds a lot more like a plus to me than a negative change.

And Bruce himself said "it doesn't really change anything" when he gave Dick the papers, so it really was a non-issue since the beginning.

I get he can have doubts and insecurities, but when it's between putting your feelings first or the ones of the child you're raising, I think the decision should come pretty easily. (Not to Bruce, apparently)

So, yeah, if DC really wanted, they could just change the early years again (we know they can, they've done it enough times already) and make Dick Bruce's officially adopted son during his Robin years and fix the whole issue very easily.

Now, I wanted to address the part about Bruce's parenting and DC not letting him develop and grow as both a character and a father, but I don't want to make this too long and you already said enough about the topic, so I'll leave it at that.

(also, would definitely love to hear about your thoughts on Dick's upbringing at the circus and how his issues began from his early childhood and not everything was for Bruce's influence. I have my own thoughts about that and it'd be great to discuss them with you)

[dcdreamblog]

I've heard there was a Wonder Woman active during one of the World Wars, but I've heard conflicting reports as to whether she was the current one who later held a low profile until the likes of Superman and Batman appeared and started being more active again or some predecessor to the current one.

Ok, this is one of my favorite historical fun facts. You are correct that there WAS a Wonder Woman active with the JSA and the All Star Squadron in the 1940s. And she IS related to our Amazing Amazon of the modern day. I'm sure we're all at least vaguely familiar with the Amazons, the race of semi-immortal women that Wonder Woman comes from. They make lots of prominent appearances in DC or at the UN or the like and you might be familiar with some of their more prominent members.

So you probably know Queen Hippolyta, the most prominent Amazon known to the rest of the world. You can see her here at this Amazon delegation at the White House from a few years ago, standing next to Diana in the very Roman-esque royal purple? Yea, THAT is our WWII Wonder Woman!

(Taken from a War Bond poster, circa 1943) She's since become sort of an unapproachable figure, she does a LOT of important work around the world so getting a historian like me in front of her is basically a no go so the finer details as to why she ended up in "Man's World" fighting the good fight aren't strictly known. BUT you can tell her apart from Diana (aside from the age of the photograph) by their hair. They share the same glossy raven color but Hippolyta has always kept hers in those lovely ringlet curls while Diana wears her hair much straighter.