#do dc call themselves dc comics

[oifaaa]

Wait is the reason people use the tag dc comics over just dc bc you have a place in America that's called dc

[bobbinalong]

there's some discourse about the potential new team adams and mercer are teasing maybe being called young justice, and like. i get it. "young justice" isn't really a team with interchangable members, everybody who ever joined really only did so because they joined the friendgroup, but i also so genuinely couldn't care less about this because if it's a decent project with steph as some sort of lead or even just in a red-tornado-esque roll and nobody thinks she's fourteen (which we have yet to find out, i suppose lol) and "young justice" is gonna make it sell, i'm all for calling it young justice. idc

[friendlyneighborhoodplebeian]

I need an au were Damian and Kon’s relationships with their parents mirror each other. We have the villainous parent that engineered your existence (Talia and Lex) and the distant, not-knowing-how-to-reach-out super-parent (Bruce and Clark). And when Damian and Kon first meet they both already have these preconceived notions with each other and instantly take a disliking to the other, but while hanging out with at each other’s houses with Jon and Tim, respectively, they realize how much they have in common and they learn to help and understand each other.

[celaenaeiln]

“batman loves his nightwing” this and “batsibs love nightwing that”, what about the batsibs’ friends / team loving nightwing ‼️‼️

YES!!! They love him!

The thing about Dick Grayson is that he has such a unique quality that just draws people in and holds them captive.

Titans (2016) Issue #26

He has a charisma that's intense. People from all walks of life find themselves just constantly looking at him for friendship, advice, love, guidance, and just something that calls them to him.

It's the impact he has on people that's astounding.

Titans (2016) Issue #27

They love him so much and they respect him so much that his absence is like a huge gaping hole in their chest. People feel lost without him because they've come to rely so heavily on him. Gar and Steel literally only joined because Dick asked.

This is something Roy catches on to and is well-aware of. He practically hounds Dick into creating the Outsiders with him.

Outsiders (2003) Issue #1

But you think Roy is the only one to capitalize on Dick's Nightwing effect? Hell no.

Titans East Special

Dick isn't just a person. He's a home. He's the guiding hand and the ship's steer control. He's special to people because he's everything they want him to be. He's their lover, best friend, brother, and partner. Whatever role they're missing in life they find it him him because he makes himself versatile enough to fill whatever they're looking for.

Dark Crisis Issue #1

We say batsibs' teams but he's the whole Justice community's everything. He fills the connections of both Batman's side and Superman's side.

He IS the most well-connected person in the entire community.

Teen Titans (2003) Issue #23

Look at what Kon says -

"Nightwing and Starfire brought wave two. Which is just about everyone whose ever been a Titan. It's a natural thing when Nightwing shows up. None of us are conscious of it, really--but we all look to him for orders. Robin's lucky."

The sheer respect. That Kon has for Nightwing is indomitable. Oh, but you think that's all?

Do you know what the superhero community says about Nightwing? Kon will tell you what they think -

Teen Titans (2003) Issue #33

The Titans (1999) Issue #39

He calls. They answer.

Hero-worship of Nightwing is canonically universal. Renaming this the Nightwing Effect

Epilson

The Titans (1999)

Red Condor

Nightwing (2016) Annual #3

Hutch

Nightwing (2016) Issue #75

Kara

Justice League of America (2006) Issue #49

Supergirl (2005) Issue #3

And sometimes this means more than friendship love but still born out of respect. It's so funny to me how Dick goes around friendzoning people.

Cassie

Even when people don't like what he wants they still do it because they respect him. Because he had an impact on them and they were were moved

Titans (2003) Issue #89

Aquaman, Ollie, John (Green Lantern)

JLA (1997) Issue #121

Kyle Rayner

Even people he's just met are like - this guy's pretty good!

Green Lantern (1990) Issue #81

Coming from a Green Lantern comic!! Not even a Wondergirl, Wonderwoman, Batman, or Nightwing writer. A green lantern!

Speaking of which, when Hal Jordon dies, a list of people are selected to be The Hal Jordon's replacement and guess who it is?

Action Comics (1938) Issue #642

Hal forces his soul back into his body and comes back to life but DC does a "what-if" thing and shows what it would be like if Dick actually became a Green Lantern.

Superman/Batman Issue #60

AND BRUCE'S REACTION!! His most favorite son combined with one of his least favorite people 🤣🤣

Superman/Batman Issue #60

But Bruce's faith in Dick actually elavtes his opinion of Hal.

ALSO!!-

Superman/Batman Issue #61

I JUST KNOW THAT BRUCE WAS WRITHING IN JEALOUSY!!

But anyway, shows to prove that no matter who Dick is and what identity he takes, he will always be the love of the hero community. Because in this world, each member is a combination of the Justice League AND the Titans.

Superman/Batman Issue #60

Yet Dick is still the center of it all.

A literal god

Nightwing (2016) Issue #49

Jon and the hero community

Justice League: Road to Dark Crisis Issue #1

"It would mean a LOT to people if you came and said--" "You're all overreacting." "We need you."

"You're all overreacting." - Clearly, this isn't the first time someone has already come to Dick about being the center of the community.

Not just by the batfam, but for everyone Dick is the most beloved person in the community. That is a fact.

[do-you-ship-this-comic-ship]

propaganda:

The chemistry. the banter. Being a hacker and bisexual are too coolest things in 1995. The way years later Tim created an entire vr suit/world for Lonnie when he was fully paralyzed so they could team up to defeat DC's darkweb the Ünternet.

(second propaganda is very long so it goes beneath a read more)

Lonnie is the first vigilante peer Tim interacted with and a major part of Tim's first solo detective case before becoming Robin - their histories are connected inside and outside of the comics, as Lonnie was the third Robin that never was and Tim is the third Robin that was. Tim maintains the myth of the Bat and Lonnie works to render the need for it obsolete (despite admiring Batman to a degree) which makes for interesting contrast. Tim's been at least somewhat interested in talking to and understanding Lonnie since their first interaction despite their couple of clashes, offering to discuss Anarchist politics with him, and Lonnie is someone often misunderstood by the wider vigilante community. Their banter is fun when they're up against each other, and Tim arrives at the conclusion that they'd make a good team the second time they meet. Tim makes a few comments here and there about how Lonnie's motivations are right and how his heart's in the right place, proving a sympathy with his cause even if it chafes against Batman's. Later on, Tim saves Lonnie's life when he's about to die after getting trapped attached to a blimp set to explode. Tim saves Lonnie's life again when Lonnie's kidnapped by Ulysses Armstrong at the end of his Robin solo, beforehand starting to correspond with Lonnie to try to track him down and rescue him and then actually rescuing him with Ulysses makes Tim choose between apprehending him and saving Lonnie. Tim in Red Robin shows signs of liking Lonnie, teaming up with him, being very concerned about his well being, even calling him his "best friend" a few times, even if sarcastically. Lonnie uses the fact that Tim understands him and how he operates to convince Tim to let him deal with the Unternet. Tim defends Lonnie's character. There's a lot of potential for the two of them any way you slice it (because there is some rivalry, annoyance, mistrust present), but I think they're people who are both similar enough to each other and different enough from each other in ways that would challenge each other to reflect on aspects of themselves, and there's nothing Tim loves more than someone who challenges him. Lonnie's painfully lonely and often needs others to drag him back down from the clouds when his well-intentioned schemes get out of hand as well as thoughts that he's the only one who can actually save the world, and Tim tends to connect or connect well with others, working well with a team. Lonnie is someone who has big, alternative ideas about society and how to deal with societal issues and has the drive to get things done, which I think would be good for Tim who is so averse to becoming like Batman, and they make nice conversation partners. There's more I could say but this is already getting so long. TL;DR timlonnie sweep forever.

[phoenixkaptain]

The comics always have Tim comment on how normal his childhood was, and I just don’t believe them.

Like, the name “Drake” was set up in comics for years beforehand. Tim Drake is a rich kid. His parents did own an entire industry and Tim’s introductory comic tells us flat out that he spends most of the time his parents aren’t home at boarding and private schools. His parents were gone a lot!

Tim Drake is stated to be so normal. This kid can still clearly remember watching Dick’s parents die, he was traumatized and had nightmares about the scene. Especially if you believe Tim’s never taken a picture of Batman before the events of his introduction, Tim is extra strange because why was his first instinct to take pictures of Batman getting beaten up?! Is that normal child behaviour?? Am I the weird one for not knowing where Dick Grayson’s girlfriend lived when I was thirteen?? How on earth is Tim Drake the normal one?

He’s a stilted talker, absolutely terrible at speaking about important things. He is the Robin who called the most alike to Batman more than once, Ra’s al Ghul calls him a detective on Batman’s level, are you REALLY normal if you’re similar to Batman??

Like yeah, sure. Tim didn’t grow up in a circus. Tim didn’t grow up raised on the streets. Tim wasn’t trained from birth to be an assassin.

I would argue that this makes him MORE abnormal! He doesn’t have Dick’s background or flexibility! He doesn’t have either of Jason’s backgrounds nor his grudge. He doesn’t have Batman to live up to for a father. And yet, he still decides to put his life on the line to fight crime! His parents weren’t even dead!! He just decided that “If Batman and Nightwing aren’t going to take care of themselves, I have no choice but to do it for them.” Sure, he tries to get Dick to help Bruce, but he realizes pretty quickly that that isn’t going to work out.

Tim Drake tried to fight Superboy. You know, Superman’s clone? Invulnerable? Boy of steel? Literally only had one weakness that Tim didn’t have on him at the time??

Tim Drake is absolutely not the normal Robin. The comics really, really want me to believe that the kid who grew up in boarding school while his parents were off on business, the kid who took to being a Robin akin to Batman (ie. invisible, unnoticeable, unknown, a myth), the kid who got beat up by Jason Todd and then went “whoa, Jason Todd is back :),” the kid who Ra’s al Ghul is obsessed with, the kid who built his own vehicle; this kid is normal.

Yeah, okay. He’s perfectly normal. His dad being hinted at as being neglectful and literally abusive with how he breaks his kid’s things? Normal. Tim Drake knowing how to photograph the most paranoid man this side of the Rockies? Normal. Tim Drake deciding that it would actually be neat-o to don a suit that another kid died in to fight against people and beings that could and would absolutely kill him in a heartbeat? Completely. Normal.

Okay, DC. Whatever you say…

[jjaysontodd]

The only reason people keep saying “Jason fanon copies Helena canon” is because they mad their fav isn’t well known.

Most of Jason fanon traits is based on his robin days. He’s been written as an anti hero and villain and has a lot of characterisation. His writing is inconsistent. So what’s wrong if people write him based on how they view him. It’s called fanon for a reason and expecting people to pick up your fav while you are hating Jason is ludicrous. The morale superiority some people have just because their fav is not well known or a woman is ridiculous.

I used to nod my head to this take because I felt like “hey Jason is a guy and Helena/Mia are women whose stories been stolen” like I wanted to be politically correct and I thought this was right. But fuck this. Why do they get to have those traits only? Is it a crime if someone thinks it’s rationale for Jason’s character to take this trope. Fanon is meant to write wtv fuck u the want that isn’t in canon and half the time they aren’t far- fetched.

Jason has always looked out for women and children during his robin days and even as red hood sometimes. Sure it’s inconsistent but it’s without a doubt people do that simply because they know his character. He is from the crime alley and his mother was a drug addict. People hc him being an English teacher simply because he has shown to be interested in literature. He was from the streets so it isn’t far fetched and even implied in a comic (during Mia’s interaction in arrow) that he might have done child prostitution to get by. It’s fanon people are allowed to explore possibilities. How does him having such experiences invalidate your fav’s experiences? Is it wrong that such a strong and big guy had such experiences? Maybe people write that so they can cope with such experiences since they relate to him more. Are these experiences only for your favs? That’s ridiculous.

I don’t get why people are mad at a fanon characterisation that has its roots in comics. The guy hasn’t been written well at all and people in fanon write their take on him. One you have never read Jason as Robin or redhood. 2 you think you’re justified to hate Jason simply because “poor Helena, Jason takes her place”.

Dc has so many characters and some characters are bound to be similar in some ways.

Helena is already an amazing character so why does hating Jason your way of promoting her? She doesn’t need to be compared tf. Some people just hate on Jason and read zero comics on her. Somehow people have made themselves believe Jason is the reason why Helena isn’t popular. Jason is popular because he’s a bad victim not a model one and people relate to that. A lot of people DO NOT WANT HIM to be Helena. They prefer him as a villain. I’m deadass done w anyone who tries to pretend he can’t have any of these traits. It’s not about the traits, it’s about who and why they have it. So comparing gets you nowhere.

Lastly, let’s be honest Jason fans don’t read any other comics or works besides Jason. So how would they copy a character they don’t know exist?

[trexiejan]

Why I don't like Barbara being shoehorned into the Titans.

Reasons why:

1. The main reason why she's on the team is because of Dick. Her relationship with the Titans has always been reliant on Dick. She never had any history with the Titans before retcons pushed her and dick together. She has become a character who hates being away from Dick and always wants to follow him in every mission he takes. When she's with the Titans, it only feels like it's because writers don't know what else to do with her other than making her follow Dick around like a dog.

2. It's part of the whole dickbabs agenda and dickkory erasure. Editorial loves to include dickbabs in everything and They hate the idea of Dick being paired or shipped with anyone other than Barbara. They know Starfire is Dick's other huge love interest and their relationship was a huge part of the Titans franchise. They don't like that so they want to erase that by shoehorning Barbara in the Titans and making Dick/Babs the focus on Titans stuff.

3. Barbara dumbs down the Titans so she can shine on their team.

Barbara especially as Oracle tends to be hyped up but the truth is she's not the only hacker or tech user in the entire dc universe. Titans has plenty of tech users. So in reality she's not needed by the Titans. She fills in niches that are already occupied by the Titans.

Dick - leader, martial artist, tactician, detective, tech user, hacker.

Cyborg - tech user, hacker and information broker.

Starfire - team mom

and all of the Titans are active communicators and they all know how to use a computer, and please starfire is an expert pilot, i remember she even owns a spaceship and hacked other alien ships. she knows how to operate a spaceship how much more using a computer 🙄

They don't need Barbara or Oracle's help for them to accomplish something using a computer or for them to be able to communicate to each other and reach out to other heroes.

The Titans can directly talk to each other through their communicators and earpieces and they have a huge computer at titans tower, and cyborg has all the high-tech stuff but when Barbara shows up, the Titans suddenly don't know how to call each other or use a computer, they make them rely on Oracle for communication and tech stuff.

The Titans are dumbed down to make Barbara shine as a tech user and to make her look smarter and useful to their team.

For example look at how Tom Taylor made Dick look dumb here. He had to call Barbara first and ask her to help him reach out to his own teammates when he can just call them right away on his own, it's funny because he wrote that Dick can't call his teammates directly because he lost signal yet he has the signal to call Barbara. Tom Taylor and his dumb excuses indeed 🙂

and look at Cyborg needing to be watched by Barbara as if his high-tech sensors are unable to detect the villains approaching his back, and lol Nightwing just stands there doing nothing while Barbara monitors his own teammates when that is supposed to be his job since he's their leader. He was nerfed into a lazy irresponsible leader that don't talk to his own teammates too much that he didn't even know his own teammate is in australia. He's not even allowed to use the titans computer when Barbara is around him.

and look at Kory, she never calls Barbara while on missions before and suddenly she has no clue what to do without Barbara guiding her move???

The Titans never needed Barbara to accomplish anything on their own. They've fully functioned and communicated with each other for decades without her. They never needed to be babysat by some girl from Gotham. Barbara has never even been mentioned once in the original New Teen Titans comics but they become the most dumbest useless versions of themselves when Barbara is suddenly around, she's written in a way that makes the Titans redundant, stealing their jobs and spotlight to make herself look like a badass hero. Nightwing can't act like a real leader and he can't talk to his own teammates, Cyborg can't be the tech user of the group, Raven can't be the voice of reason, Titans can't use a computer and other tech stuff etc. because she can't shine if they do that. The only way for her to stand out on a team she has nothing to do with her is by dumbing everyone around her.

Barbara should be with her own team Birds of Prey not on a team she has nothing to do with.

4. The Titans become another Batman-related group.

We all know the story of Dick when he joined the Titans. He left Gotham and quit being Batman's sidekick because he doesn't wanna be under Batman's shadow anymore. The Titans helped him be independent from the Bats.

I don't like that Barbara keeps invading his privacy and space. The Titans is supposed to be a place where Dick can be away from the Batfamily and do his own thing.

and the Titans is Dick's own team, I don't like the idea of Barbara overriding his own agency.

She needs to do something on her own without associating herself with Dick 24/7

Plus the Bats are pretty oversaturated in DC, we don't need them overtaking Titans as well.

If another Bat related character has to show up then it has to be just one of the robins since Robin is a titan character.

Batgirl or Barbara has never been a Titan. She only ever wants to show up because of her romance with Dick. I do think Dick/Babs relationship is a mistake and that It shoudn't have happened. It's not a good relationship if you have to shoehorn it in places it doesn't belong in and dumbing down other characters along the way just for it to make sense or make Barbara's presence in Dick's life stronger than it should be.

I wish editorial didn't retcon them into lovers. Their relationship did more damage to their characters and the people around them than when they were not together.

The "His older crush that he outgrew and learned to move on from" trope was already fine. I hate that they changed that story by aging down Barbara to be the same age as Dick so they can be together instead of just letting them move on from each other.

Dick wouldn't have to stay stuck with Barbara 24/7 and Barbara wouldn't have to keep following Dick around like a dog wherever he goes if they just kept it in the past.

[incorrectbatfam]

I just got an anon who was purportedly at a comic conference and tried to share some unreleased information about certain characters in a certain movie. Whether it's true or not, I can't verify nor am I interested in doing so.

In support of the WGA and SAG-AFTRA strikes, this blog will not be posting or answering anything related to upcoming DC content.

(Yes, I know comic and screenwriting are different. But there's a lot of overlap and non-union folks are supporting the strike too.)

If you're wondering what comic fans can do, here are some suggestions:

Do not cancel your orders or subscriptions. Neither union has called for a consumer boycott. The point is to keep up demand to show companies like DC and Warner Bros. that they need writers and actors to keep their audience (From what I understand, finished content like the Blue Beetle movie are okay to consume.)

Donate to funds that support striking workers like the Entertainment Community Fund and the Snacklist.

If you can, join the picket line. Otherwise, social media is a good place to voice your support. You can also send letters or emails directly to the studios themselves.

If you are suddenly offered a gig, as shiny of an opportunity it may seem, do not take it. It might look good now but you will be barred from union membership and it'll jeopardize your future career prospects.

Do not harass writers or actors about production delays. The point of a strike is to disrupt the release of content. We can do without the new Superman movie if it means the people behind it get what they deserve. If you want to direct your frustration at anyone, direct it toward the studio execs.

This is also a good time to show support for indie comics and fan works!

Don't worry, I will still engage with old DC content and headcanons as usual.

[halfagone]

Thank you! So this next one is a risky just a DP x DC au. Basically, Dani joins the young Justice and constantly gushes about her father Danny, with her bragging about his achievements and causing both the YJ team and the league as a whole extremely curious about him (especially Batman). When Dani finally decides to introduce them to him, they were not expecting an 18 year old who’s already ruling the realms despite his young age. Naturally, shenanigans ensue from there. What do you think?

Hmm... *strokes non-existent goatee* Now this is an AU I don't usually do... (I have a threshold for angst, as I like to call it, for any given story, and I wonder if this would've passed the threshold) I think for best comical effect Danny shouldn't be super mature like he is in, say... Off With the Demon's Head, where we see a similar father-daughter kind of dynamic between Danny and Ellie. That way the YJ and JL are all the more shocked when they realize that this is the guy Ellie's been talking about all along. Also if Ellie and Danny are only, like, four years apart so Danny's 18 and Ellie's 14 and they call each other father and daughter that would be hilarious XDD

I have been extremely picky about my Ghost King AUs recently, however, so I don't know how I would go about this. There are so many fics with this concept, I've written a number of fics with it too, and not all of them really do it for me anymore? I don't know if I just feel burnt out from the idea thanks to oversaturation or what, so I don't know what I could do for you on this idea. But! I can have a really funny exchange/reveal. >:D

---

Ellie, otherwise known as Phantom ("The Second," Ellie would always tut. "It's Phantom the Second, and don't you forget it."), hopped around excitedly as they stood at the zeta tubes, waiting for her apparent father to arrive. More than a few of them were shifting around on anxious feet, wondering how this meeting would go. Ellie had never held back on boasting about her father, and well. Could you blame them for being intimidated? Even just a little? Many of them hadn't gotten the privilege of seeing his exploits themselves, but they had seen the ripple effect across the world nonetheless. It was nothing to scoff at.

Oh gosh, they were totally going to blow this, weren't they?

Batman remained as stern as ever, even though he was just as curious and intrigued by the stories Ellie had shared. What concerned him the most at the moment, however, was how Ellie had told them to wait here, at the zeta tubes, when Batman was sure that no outsiders should be able to enter the base without the assistance of-

Before he could even finish that thought, there was a blinding ripple of light concentrated around a seam in the fabric of time and space itself. Many of them had to shield or close their eyes to protect their sight from the glare, and when the light finally abated they looked back to see a figure floating above the ground. A ebony black crown floated about their head, wisps of black fire smoking from its gemstones. A thick black coat was thrown over one shoulder, lined with a shock of white fur. It hid the royal regalia underneath, but the quality of it could not be understated.

The mop of white hair couldn't hide the toxic green eyes, no matter the fringe that laid atop of it. Those eyes were piercing, staring into their souls without mercy. More than one of them swallowed; that was fine, only the Supers could hear them... Right?

When the figure laid their eyes on Ellie, they smiled, revealing fanged, glittering white teeth.

"Dad!" Ellie shouted with excitement, floating off the ground without realizing it.

In another flash of bright light, the intimidating figure was then replaced with a young teenager, whose black hair floated gently as they touched down on the ground. Bright green had turned into calm blue, and the royal garb had been replaced with... an uni hoodie with tattered jeans?

"Hi, baby! How are you?" The teenager exclaimed as Ellie threw herself into his arms. "Is it okay if we have McDonald's for dinner? Uh, there was an accident in the kitchen again."

"Don't tell me you and Pa blew something up again," Ellie groaned with exasperation.

"Don't be ridiculous, me and your mom did this time," Ellie's father remarked with nervous laughter. Ellie shook her head at his antics. It was then that the unknown teenager turned to them. "Oh hi! You guys must be the Justice League, and... Young Justice? I hope that's correct? Ellie's told us a lot about you guys. Has she been good? How much collateral damage has she caused?"

"She burned down a lab the other day," Superman commented distantly, his shock overwhelming him.

The teenager gasped, turning back to Ellie. "You did? Aw, I'm so proud of you." He pulled her into another hug, making the younger girl giggle in happiness.

Meanwhile, everyone else couldn't help but stare. What the actual what just happened?

[graysoncritic]

A (Negative) Review of Tom Taylor's Nightwing Run - What Went Wrong? Dick's Characterization

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

In the previous section, we explored not only who Dick Grayson is and why he is so beloved by his friends, but why many people — including Taylor and others at DC — have a hard time  understanding his character. By reducing Dick to a hero who is “good” and transforming into an “everyman” that anyone can project themselves onto, Taylor fundamentally removes that which makes Dick special, transforming him into a different character.

But there are other ways in which Taylor and DC mischaracterize Dick by erasing his history and transforming into a more “palatable” mainstream hero. That is what I wish to explore in more detail now. 

Let’s begin by examining how Taylor’s framing Dick’s story in Nightwing (and that of the Titans in Titans) as a coming-of-age tale contributes to a grand erasure of Dick Grayson’s greatness.

In Taylor’s run, Dick is treated as if he were a new superhero. However, even if this run (not the entire title that started in 2016 with Rebirth, but just Taylor’s run) were to become a new stand-in for the 1996 Nightwing solo in which Dick arrives in Bludhaven for the very first time, Dick Grayson should not be portrayed as someone new to vigilantism. Even if one were to generously interpret Taylor’s Dick as being only twenty-two years old after starting as Robin at twelve years of age and only recently having become Nightwing, Dick would still have a decade of experience doing detective and hero work. It is notable that most of that decade was spent with him leading the Titans, serving as Batman’s partner and second-in-command, and mentoring numerous young heroes.

(Wolfram, Amy, writer. Kerschl, Karl, illustrator. In the Beginning… Part Three. Teen Titans: Year One no. 03, e-book ed. DC Comics, 2008. pp. 09)

One of Dick’s core traits is that he is a natural, if at times reluctant, leader. Many key moments in his character history are defined by Dick feeling the weight of the responsibilities placed upon him and having to push through his personal reservations for the sake of others. 

Dick was the first child hero. He was the first sidekick. Out of universe and in universe. (In the introduction to  Dick Grayson, Boy Wonder: Scholars and Creators on 75 years of Robin, Nightwing, and Batman, Kristen L. Geaman mentions that some argue Mister America from Action Comics #2 is, in fact, the first side-kick. However, this claim is debated since Mister America played more of a comedic and “Watsonian” role [as Dick Grayson Fan C suggested], and Dick was the one who popularized the formula of the role.) He was the proof that the concept of a sidekick — a partner — could work. Proof that kids could be trained into this life. Proof that they did not need powers in order to be a hero. That is one of the reasons why, in-universe, he is admired by so many characters – because he is the trailblazer who opened the doors for every young hero and side-kick that came after him. Dick’s history is also why he has so many connections — it is because he was the one who opened the doors for everyone else, mentored so many people, and partnered with those who were his age and those who were much older that he gained so much respect in the superhero community. 

And yet, that history is called into question in Taylor’s narrative when he frames Dick as a young, new hero who is just beginning to assess what he wants to do with his life. Not only is it bad storytelling to portray Dick’s connections without factoring in the experience tied into them, it also demonstrates a fundamental lack of understanding of who Dick is, what he represents, and why he’s been so beloved for over 80 years.

This lack of appreciation and of respect towards Dick is extended to the other Titans in Taylor’s Titans (2023) run. As he himself pointed out, the first arc is called Out of the Shadows because, in his words, the Titans are “stepping out of the shadows of the Justice League.”

(Taylor, Tom [TomTaylorMade]. Twitter, 22 June 2023, https://twitter.com/jesswchen/status/1636971185782259716?s=20.)

And yet, to its fans, the Titans were never in the Justice League’s shadows. They were not inferior or subordinate to the Justice League, even if they may be less known. In-universe, the Titans may have modeled themselves after the Justice League and they may be allies, but the Titans are still an independent entity. From their very inception they defined themselves in contrast with how the Justice League operates. 

In fact, in JLA/Titans #02, Dick himself draws this distinction when arguing with Bruce and calling him out on his condescending behavior towards the Titans.

(Grayson, Devin; Jimenez, Phil, writers. Jimenez, Phil; Brown, Eliot R., illustrator. The Generation Gap. JLA/Titans no. 02, e-book ed. DC Comics, 1998. pp. 23)

Trying to repackage Dick and the Titans as newbie heroes who are only now experiencing independence demonstrates a lack of understanding of their history and who the Titans are meant to be. The Dark Crisis and The Dawn of the DCU attempt to frame Dick’s Nightwing series and Titans as coming-of-age tales, where only now the characters are stepping into adulthood. Taylor’s writing goes a step further and portrays them as making rookie mistakes, coming across as newbies, and as a result, erasing all of the rich history that have built these characters into who they are today.

As I mentioned above, even if we generously interpreted that Dick never lived in Bludhaven before, Dick should still have plenty of experience being a hero and living on his own. The moment in which he transitions from Robin to Nightwing (willingly or unwillingly depending on your preferred Nightwing origin story) is Dick’s coming-of-age moment. By the time he comes to Bludhaven, Dick already knows who he is, what he wants, and he knows how to care for himself. By the time Dick comes to Bludhaven, his internal struggles are not that of a young adult who just left the nest and does not yet feel like an adult, but rather that of an adult who knows his own abilities and is confident in who he is. 

And yet, in Nightwing #84, the first issue in Nightwing: Fear State, Taylor has Dick pondering on the responsibilities of taking care of Bludhaven. Right on the first page, he says “Fighting an entire corrupt system? Saving a whole city? There’s no training for that.” 

(Taylor, Tom, writer. Rodriguez, Robbi, illustrator.  Fear State Part 1 of 3. Nightwing: Rebirth. 84, e-book ed. DC Comics, 2021. pp 03)

Except even the most basic knowledge of Dick’s character shows that he was, in fact, trained to save an entire system and to fight a corrupt system — he was trained to care for Gotham and to take out the corrupt systems that prevail in that city. Not only that, Dick has also been Batman, at which point he was also Gotham’s main protector. 

This mistake becomes even more outrageous when one considers that, though Taylor’s run is at times treated as a soft-reboot, Dick is still shown to have lived in Bludhaven while operating as Nightwing. This means that that generous interpretation I’ve been alluding to is not, in fact, compatible with the story as it is written. It is a falsehood, and therefore cannot be used to excuse the “new-in-town” approach Taylor uses when writing Dick. 

Dick’s apparent inexperience and, frankly, incompetence, is further highlighted by the amount of times Dick is saved by others, or the amount of times when he is dependent on others to do the work for him. These instances include, but are not limited to:

The people of Bludhaven answering Nightwing’s call when Heartless sets the tent city on fire in #81

(Taylor, Tom, writer. Redondo, Bruno, illustrator Leaping into the Light Part 4. Nightwing: Rebirth. 81, e-book ed. DC Comics, 2021. pp 13)

Dick being knocked out with a single blow and then unmasked during his first attempt to investigate Melinda also in issues #81

(Taylor, Tom, writer. Redondo, Bruno, illustrator Leaping into the Light Part 4. Nightwing: Rebirth. 81, e-book ed. DC Comics, 2021. pp 20 - 21)

Babs calling people to Dick’s rescue rather than trusting he could get out of it on his own in #82.

(Taylor, Tom, writer. Redondo, Bruno, illustrator. Leaping into the Light Part 5. Nightwing: Rebirth. 82, e-book ed. DC Comics, 2021. pp 03)

(Taylor, Tom, writer. Redondo, Bruno, illustrator. The Battle for Bludhaven’s Heart Part Four. Nightwing: Rebirth. 95, e-book ed. DC Comics, 2022. pp 24 - 25)

In #90, when his building blew up and Wally came to save him, then proceeded to force him to rest away from Bludhaven instead of letting him take action.

(Taylor, Tom, writer. Redondo, Bruno, illustrator Get Grayson Act Three. Nightwing: Rebirth. 90, e-book ed. DC Comics, 2022. pp 15)

And needing Babs’ help during a car chase in #106,

(Taylor, Tom, writer. Byrne, Stephen. The Crew of the Crossed Part One. Nightwing: Rebirth. 106, e-book ed. DC Comics, 2023. pp 16)

Which greatly contrasts how, in #113 of the Nightwing (1996), Dick handles a similar situation while simultaneously mentoring Rose Wilson.

(Grayson, Devin, writer. Chian, Cliff, illustrator The Scorpion and the Frog. Nightwing no 113, e-book ed. DC Comics, 2005. pp. 19)

The thesis of Taylor’s run is that people need to rely on one another — we have to be each other’s safety net. And while that is an interesting theme to explore and one that certainly speaks to Dick’s history of doing things on his own out of fear of putting others in danger, Dick should still, more times than not, be able to do things by himself. After all, this is not an ensemble piece — this is Nightwing’s story and as his fans, we want to read about him. Cameos are fine. They can be fun, in fact. But cameos are different from Dick constantly struggling and needing help whenever he faces a challenge – the former portrays Dick as someone with powerful connections that deeply love him; the latter portrays Dick as being incapable of doing things without someone holding his hand.

This is another thing that Waid understands about Dick and portrays it clearly in World’s Finest. When Kara explains to Clark what first attracted her to Dick, she emphasizes how, despite the fact he had no powers, he could still save himself. 

(Waid, Mark, writer. Lupacchino, Emanuela, illustrator. Scream of the Chaos Monkey. Batman/Superman: World’s Finest no. 12, e-book ed. DC Comics, 2023. pp. 06 - 07)

Being not just competent, but exceeding even the highest expectations is at the core of Dick’s character. And, as was pointed out in the previous section, it also serves to feed into his toxic perfectionism — he is one of the top tier heroes, therefore people expect excellence from him. Dick does not want to fail those who put their trust in him, and so he demands perfection of himself to the point of self-destruction.

Beyond that, we cannot give Taylor credit for trying to tell a story about Dick growing out of his perfectionist bad habits by learning to rely on others. After all, if Dick is constantly asking for help, then he is not resisting help. And that removes his chance for growth. A character arc requires development and change, which means one cannot start at the endpoint. Therefore, it cannot be claimed that Taylor’s intentions are for Dick to learn to rely on others, for he has been doing so without hesitation since the beginning. 

As a result, the story is not about Dick being Bludhaven’s safety net while learning that he also has a safety net of his own, but rather about Dick always relying on his safety net, always knowing it was there, and having them also shoulder the responsibilities he took when he named himself Bludhaven’s protector. There is no room for Dick to grow because he is already at the end of his journey. And there is no room for Dick to be the hero of his story because others are constantly coming to his rescue when things get too difficult.

Once more, I must clarify that I’m not saying that Dick is not loved, or that Dick is not important to many people. I’m simply stating that the way his relationships are built gives him very little room to rely on them. He is their safety net but he doesn’t trust them to be his safety net. Exploring this requires going into the nuances of each relationship, where conflicts are created, and where people hurt the other in the heat of an argument. It would mean dealing with the messiness of complex human emotions, forcing characters and the audience to sit with uncomfortable feelings as we get to the root of Dick’s perfectionism and his fears.  

In June of 2022 a reader on Twitter asked Taylor about his decision to have Dick constantly falling, for, as they pointed out, this makes Dick look incompetent.

(Jonathan [@Nightwingdagoat]. Twitter, 21 June 2022, https://twitter.com/Nightwingdagoat/status/1539267708310765568)

Taylor responded by saying that these instances were Redondo’s call, and that it was their attempt to humanize Dick.

(Tom Taylor [@TomTaylorMade]. Twitter, 21 June 2022, https://twitter.com/Nightwingdagoat/status/1539267708310765568)

In fairness to Taylor, the following criticism will then be directed primarily at Redondo who believed these instances were the best way to “remind people that Nightwing is human.” That being said, as Taylor appears to support such a position, and as he has written numerous incidents where Dick is conveniently knocked over by others, I do believe this can be directed at him as well. 

Simply put, to have a character constantly fall is a superficial and lazy way to humanize said character. Casual falls like this, after all, are not failures. They contribute little to the story and have very little consequence.  

Nothing happens once Dick falls. The bad guy doesn’t get away, the innocent civilian is not hurt, the crucial piece of evidence needed to crack the case is not destroyed. There are no lasting consequences for Dick to deal with, no conflict that can arise from these falls, no tension to make Dick’s future success more emotionally effective. Furthermore, these falls are completely out of Dick’s control, taking away any responsibility he might have for his mistakes. 

If the flaws that are meant to “humanize” Dick are falls which he bears no agency over, then he, the good guy, has no responsibility over his own “failures.” Said “failures” also end up having no consequences to the plot, which gives Dick no crisis to respond to (furthering his passivity), and this robs Dick of character development opportunities. 

It creates a stasis in the story where the only conflicts Dick faces are the ones against really bad guys that always – always – lose to Dick and his connections, and ones which do not ask for moments of introspection.

Despite almost never falling in The Untouchable, Dick is far more human there than in Taylor’s and Redondo’s run. This is because Dick is forced to face the consequences of his “failure” to capture the Judge twice in the past. Dick is constantly thinking about the Judge’s victims, forcing himself to carry their lives on his shoulder. He pushes himself to toxic lengths. Whenever the Judge escapes his grasp, the conflict evolves, the stakes are raised, and the tension builds. Dick’s desperation becomes visceral to the reader, and that is what humanizes him to the reader. Similarly, the emotional pay-off of the climactic battle in the end grows with each obstacle Dick faces.

(Humphries, Sam, writer. Chang, Bernard, illustrator The Untouchable: Chapter Four: Infiltration. Nightwing: Rebirth no. 38, e-book ed. DC Comics, 2018. pp. 09)

But Dick’s newbie incompetence is not the only way Taylor mischaracterizes Dick. It is by combining the lighthearted tone of his story, his depiction of Dick as a blank canvas “good guy,” his avoidance of conflict, and his attempts at answering difficult real-world problems that Taylor ends up creating a version of Dick Grayson that is utterly self-absorbed and lacking in foresight.

Telling and not showing is an immense problem in Taylor’s writing. There’s a difference between how a writer attempts to portray a character and how, given their actions in the context of the narrative created, the story shows them to be the complete opposite. In such cases, the story triumphs over the writer. This is why I claim that, though Taylor tells the reader that Dick is caring, intelligent, and a hard worker, he actually shows Dick as as selfish, incompetent, and naive.  

Take, as an example, how Taylor sidelines the Heartless storyline in favor of slice-of-life scenes. If Heartless was not there, perhaps those sweet moments could be just that. However, as in the world of the story there is currently a serial killed running around free, making orphans out of the youth Dick vowed to protect, the fact that Dick is not constantly working to catch Heartless is not only out of character, it makes it so it seems he doesn't care what happens to the people of Bludhaven (And now also Gotham, given #111, which was released as this essay was being edited). Rather than stopping crime and bringing justice to Heartless’ victims, Dick would rather spend his nights in his apartment, enjoying a relaxing evening with his girlfriend and his dog. 

Please do not take this to mean that I consider a slice-of-life story to be inferior to other genres. My reason for highlighting this is not to undermine the value of slice-of-life, but rather to argue that such scenes do not live in isolation. They exist within the context of a larger narrative, and what would be sweet in a sitcom-style story comes across as something entirely different when other characters are facing life-and-death stakes. It does not matter how much the writer tells us that these characters are caring and compassionate — their lack of action and urgency portrays them as self-centered. 

Just as Taylor attempts to write the big climatic moments without properly building the momentum necessary to make them impactful, he similarly forgoes the work required to win the reader’s trust, and instead expects his audience to simply accept that important plot and character developments are happening off-screen. Rather than letting the audience experience the intrigue and devastation of the Heartless mystery by showing us how the horrors of these murders motivate Dick to continuously search for this cruel killer, Taylor instead advances these elements off-screen, opting instead to tell the reader they’ve occurred.

That is not to say that writers cannot streamline plots. They absolutely can and, in some cases, they absolutely should. However, streamlining a subplot is a far more complicated matter than just telling the reader said events happened off-screen and expecting them to simply accept it. 

While it is impossible to provide a precise checklist with the step-by-step guidelines on how to properly streamline a subplot, I believe one of the factors one must consider is whether that plot should be streamlined or not. Personally, I believe that Dick investigating the character who was meant to be this run’s main villain is too big and too important of a story to be played off offscreen.

Dick has hardly spent any time attempting to apprehend Heartless. Instead, as time of writing, his investigation of Heartless has practically nonexistent. Instead, after not focusing on him for the majority of the run, we are simply told by Dick and Babs that they’ve been keeping an eye on Heartless, even if their investigation is never shown to us. 

(Taylor, Tom, writer. Basri, Sami Nightwing. Nightwing: Rebirth. 111, e-book ed. DC Comics, 2023. pp 09)

If we, as readers, are to believe that Dick is the selfless detective and hero — the Heart of the DCU — that Taylor tell us he is, then finding and apprehending Heartless should be one of his top priorities. If Heartless was meant to be Nightwing’s big nemesis, then their confrontation should always be a source of great tension and conflict. Such importance would be demonstrated by showing Dick working towards stopping him at every moment he has free. But either those moments are not happening at all, or they are happening off-screen.

Having such an important conflict and such a crucial antagonistic dynamic develop does nothing to enrich the plot — in fact, it only detracts from them, for because we do not get to witness this relationship grow and we are only told that it is happening, the pay off that must come when Nightwing and Heartless finally have a big confrontation will be cheapened as a result. 

Heartless' actions are so brutal and create such urgency that not prioritizing Heartless' arrest makes it seem like Dick doesn't care about his victims. Batman doesn't wait around when the Joker breaks out of Arkham – he hunts the Joker down. Similarly, Dick didn't wait around on the Judge – he hunted him down. 

For Heartless to be the Big Bad, Dick should have put him in jail already and Heartless should have escaped. DIck should have faced him multiple times. He should have been Dick's priority because of how cruel and urgent his actions are.

Finally, there are three particular moments that I wish to discuss to illustrate how ambivalent Taylor is when it comes to Dick’s characterization, choosing to prioritize online discourse over who Dick Grayson’s established history and personality. 

The first one comes from a throwaway line. And yet, because this was a throwaway line that demonstrated how little thought Taylor gives to his main character. 

When Tim makes his first appearance in Taylor’s run in #80, Dick’s narration says that many would consider Tim to be the best Robin, and that he “totally gets it.”

(Taylor, Tom, writer. Redondo, Bruno, illustrator.  Leaping into the Light Part Three. Nightwing: Rebirth. 80, e-book ed. DC Comics, 2021. pp 09)

“Who is the best Robin” is a discourse that I, admittedly, care very little for. It serves no purpose other than to get fans to fight one another, bashing each other’s favorite characters in order to prop up their own. When posed on social media, this question becomes a thinly veiled attempt to generate high engagement. In reality, when people discuss “who is the best Robin,” they are, most often than not, truly arguing about who is their favorite Robin. But the question is framed in a way to be purposefully divisive, creating conflict within the fan community. The fact that DC plays into that divisiveness that requires their characters to be brought down so others can be lifted up for marketing material is concerning, but the fact that writers such as Taylor are letting that fan perception bleed into in-universe narration is nothing less than lazy writing that prioritizes online leaning into buzz over good storytelling.  

Naturally, as a Dick Grayson fan my opinion is that Tim is not the best Robin. Dick is. But my problem is not that Taylor said that Tim was the better Robin, but that I think Dick would never concede to the existence of a “best Robin.” In fact, not only do I believe that it is out of character for Dick to believe that one Robin can be defined as the best Robin, I would argue that Dick would be offended that such a question could be asked.

Dick, more than any of the other Robins, understands the purpose of a Robin, as he was the one who created the mantle. By seeing so many others inherit his family’s colors and his mother’s name for him, he also understands better than anyone that each person who becomes Robin has their purpose in their own unique way. Dick would understand how each of them made the Robin mantle unique, how they added to its mythos in their own way, and how all of their contributions are equally valid and equally important. He would never single out one of them as the best because he knows that Robin is about an ideal of justice by bringing light into the darkness. Most importantly, understanding how many Robins tied their self-worth to the mantle, Dick would never want others to feel as if they fell short of some arbitrary measure by proclaiming they are not “the best.” Dick would be against that measure, against the very idea of ranking Robins, as if they were interchangeable, as if they each didn’t make relevant contributions. He would hate the idea of the mantle he created in honor of his parents being used to judge and measure the worth of those he loves. Dick would argue that there can never be a "best Robin" because Robin is always about being your best self in the service of those who need your help, and you can't quantify that.

The concept of a “Best Robin” is a marketing strategy and a fan-oriented discourse that Taylor casually imposed into the narrative without considering whether his protagonist would adhere to such ideas. He prioritized internet discourse over characterization, and while the former may be immediately fulfilling as the page is cropped and shared a few thousand times in the first few days after publication, only the latter will leave an impression that will last decades. Taylor is embodying a current DC Comics trend to favor the former over the latter. As scholar Steve Baxi said in his review of Leaping into the Light, that page “doesn’t feel like Dick Grayson appreciating his brother, it feels like Dick Grayson saying what the audience wants to hear.” (Baxi, Steve, “TRADE COLLECTION REVIEW: Nightwing Vol. 1 - Leaping Into The Light” Comics Bookcase, August 2021)

Although they share similar problems, unlike the “Tim is the best Robin” throwaway narration, the second example I wish to discuss in detail became a big plot point in the beginning of Taylor’s run. I’m referring to the choice of having Dick become a billionaire due to the inheritance Alfred left to him.

To be more clear, my problem is not with the fact that Taylor made Dick into a billionaire (after all, Dick inheriting wealth from his parents is not a novel concept), but rather with Dick’s musings on the subject. (Dick’s financial situation is inconsistent across the years. While some like Dixon and Wolfman allude to him having a trust fund his parents set aside and that remained untouched until Dick’s adulthood, other writers like Humphrey who portray him as more middle class and sometimes struggling financially. Then there are the numerous times in which Dick was left homeless, implying that he did not have a safety fund to go to when tragedy struck.) On #79, Dick says, without a hint of irony, that he always thought that Bruce could do more to help Gotham with Bruce Wayne’s money than he does as Batman. 

(Taylor, Tom. writer, Redondo, Bruno, illustrator Leaping into the Light Part Two. Nightwing: Rebirth. 79, e-book ed. DC Comics, 2021. pp 07)

This is a popular online discourse that reveals lack of knowledge about Batman and a naive understanding of how corrupt systems function. I understand we are currently very critical (and rightly so) of billionaires and the hoarding of wealth. I understand that this leads many — media critics and everyday fans — to analyzing how wealth is portrayed in the stories that resonate within our culture. But anyone who claims that Bruce has not used his wealth for the benefit of Gotham outside of funding his Batman endeavors has not engaged properly with Batman media. I’m not going to go into the merits of how Bruce’s wealth should or should not be portrayed and how DC has currently been handling this issue (that is the subject for an entirely different essay that is not relevant to this discussion), but I will say that Bruce has, canonically, used a lot of his money to fund safety net programs in Gotham, to invest in small businesses and on individuals, and in trying to make the city more affordable and kinder to those with less. 

Twitter user Ashley|TheBatFamily 🦇 (@TheBat_Family) created a comprehensive Twitter thread of examples. These are but some of the ones that stood out to me and that feel most relevant to this essay:

In Cataclysm, Bruce attempted to lobby the US government to offer aid to Gotham after the earthquake; 

Bruce used his money to rebuild the city during No Man’s Land;

Bruce invested in the people who were ready to start new businesses so Gotham could offer jobs to its people and rebuild itself without being fully dependent on others;

Bruce created scholarships so more people could attend university;

Bruce funds Leslie’s free clinic as well as other hospitals around Gotham;

Bruce invested on low-income housing developments in Gotham by working with local firms, providing accommodations to local residents so no one would be displaced;

Bruce expanded and modernized Gotham’s public transportation system;

Bruce ensured all Wayne properties were secured against earthquakes (which led to those residences being the only ones standing during NML);

Bruce funds libraries and museums;

Bruce funds green efforts not just in Gotham, but in other places by buying land and making them nature preserves;

Bruce funds orphanages and provided them resources (from educational supplies to toys for the children);

Bruce provided support for immigrants;

Bruce funds appeals for wrongful convictions;

Bruce provides employment for former convicts;

(Ashley [TheBat_Family]. Twitter, 13 October 2020, https://twitter.com/TheBat_Family/status/1316006509923520512.)

In short, Bruce Wayne has done everything and more that Dick claimed he wished to do for Bludhaven. There’s nothing novel about the idea. Batman narratives don’t put as much focus on these endeavors and do not place as much emphasis on Bruce’s philanthropy simply because they Batman stories are, at their core, detective stories first and foremost. Their focus is on investigation and crime solving (Though I would argue that Cataclysm and No Man’s Land put a lot of focus on issues of wealth, class, and examine Bruce’s financial responsibility towards the city).

But just because these examples are not the focus of the stories in which they are present, it does not mean that they do not exist. Neither does it mean that Batman stories do not engage with themes of wealth and class inequality, as well as systemic corruption. In fact, I would argue that many of the best ones know how to use Bruce’s privileged status to explore these issues. The Court of Owls by Scott Snyder, for example, brilliantly uses the Court and the Talons to engage with these themes. (An essay analyzing the Court of Owls through such a lens would be a fascinating study, especially when exploring the parallels and foils between the Court and the Talons, and Bruce and Dick. Alas, this is not the place for it.)

Dick, who not only has always been characterized as knowing Bruce better than most people,  but who was also raised by Bruce, would know about every single one of the examples listed above. Dick, of all people, had a front row seat to all the ways in which Bruce helped Gotham with his wealth, both in examples that were covered by the press, and the ones Bruce did secretly without taking credit. Dick attended countless fundraising events, press briefs, boardroom meetings. But most importantly, Dick would have witnessed with his very own eyes that lack of funding is not at the root of Gotham’s problems.  The problem in Gotham is not lack of money or safety nets, but rather, it is that its systems are so corrupt that pumping more funds into it will do nothing to help those in need. Instead, it will only further enrich those who are already in power. That’s why in this comic book world with comic book conventions and comic book logic, Batman is needed. Batman is a disruption to the system, forcing it to change, dismantling it from both the outside and the inside. In Dixon and Grayson’s Nightwing runs, Dick’s understanding of systematic problems can be observed in his motivation to become a police officer, as he joins the force with the goal to weed out the corruption and dismantle the system from within. Money alone cannot save a city if the foundation was purposefully designed to favor those on the top by taking from those at the bottom.

(Dixon, Chuck, writer. McCarthy, Trevor, illustrator The Threshold. Nightwing. 60, e-book ed. DC Comics, 2001. pp 22)

But of course, Taylor never takes a moment to wonder how being raised by Bruce Wayne would influence Dick’s perspective on this matter. Instead, he once more takes a popular online discourse and makes Dick say it out without considering characterization. A more in-character and canonically accurate approach to such a story moment would have Dick comment on all the ways Bruce used his money behind the scenes to help Gotham, and how he wishes to do the same for Bludhaven. A single line change would have demonstrated Taylor's willingness to engage with Dick’s character history rather than just copying the hot takes he sees on social media. 

Not only that, this change in dialogue would also establish Bruce and Dick’s closeness as it would show that not only is Bruce a source of inspiration for Dick, but that Dick is one of the few people who have seen this side of Bruce. That would have also made the hug between Bruce and Dick in the #100 more emotionally effective and thematically cohesive, especially as they are in front of Alfred’s grave.

(Taylor, Tom, writer. Redondo, Bruno, illustrator Power Vacuum: Part Four: The Leap. Nightwing: Rebirth. 100, e-book ed. DC Comics, 2023. pp 44)

The truth is that Dick's Haven project engaged with issues homelessness only in the most shallow of manners. Rather than discussing the realities of this matter, it simply used it as a backdrop. It is an appropriation of hardships by someone who is unwilling to engage with the difficulties brought upon by said hardships. It is substance-less writing masquerading as social consciousness.

The third example I wish to cite which demonstrates Taylor’s lack of consideration for Dick’s character or his backstory comes when Haley is taken in #87. Dick’s internal monologue reads that “The last thing I’d want is for anyone to be threatened because they’re close to Dick Grayson,” referring to the fact that he is now a public figure thanks to the press conference he gave about his plans for Bludhaven. 

(Taylor, Tom, writer. Redondo, Bruno, illustrator Get Grayson. Nightwing: Rebirth. 87, e-book ed. DC Comics, 2021. pp 09)

The idea that Dick Grayson, billionaire Bruce Wayne’s first child, was unaware of the dangers faced by those associated with a public figure is laughable. The idea that the first Robin, who was often taken hostage by villains who wished to get to Batman (so much so that Frank Miller famously nicknamed him “Boy Hostage”), did not understand the threat posed to those who are close to powerful figures is insulting. After well over a decade as a superhero, and after well over a decade of being associated with a wealthy public figure, Dick should know better than most how such ties can put loved ones at risk. 

In-universe, this line makes Dick appear so self-centered that he does not take into consideration how his actions affect his loved ones. It makes him appear dense, unable to think through his actions and strategize contingency plans and safety precautions before taking such a giant risk. 

Out of universe, this betrays a lazy way of storytelling, with Taylor going for low-hanging fruits without thinking of how that might affect the characterization of his protagonist. Out of universe, a collection of throwaway, thoughtless lines like this demonstrates just how uninterested Taylor is in giving even the slightest consideration to who Dick Grayson is meant to be, instead putting his focus on the gimmick that will get him noticed on social media.

[blorb-el]

Calling golden age Clark an anticapitalist/socialist paragon is only true for prewar golden age Clark (1938-42). The instant the US entered the war and the character started to be used to sell war stamps, he couldn't act as anti-authoritarian; destroying a car factory for its use of unsafe, inferior materials (action 12), trapping a mine owner in his own mine to force him to improve conditions for his workers (action 3), or tearing down tenement housing in order to force the government to build better, safer apartments (action 8) are all actions that would be seen as actively traitorous in the wake of Pearl Harbor. The Superman office contributed enthusiastically to war propaganda in all the forms of media the character was appearing in (comics, newspaper strips, radio show, and the Fleischer animations). By the end of the war Superman the Character was firmly established as Establishment. Postwar golden age Superman is still devoted to doing the right thing, of course, but now he helps raise money for charity, donates his time and labor to build orphanages, that sort of thing. He's not trying to tear the system down... much as I wish DC would let him try.

Instead of Siegel's original justice cryptid, the furiously kinetic Champion of the Oppressed outsider Superman, postwar to modern day we get a Clark who shifts back and forth on the spectrum of establishmentarianism depending on the writer, but who is generally not allowed to act directly against institutions (Wolfman, Morrison, Waid, Byrne, and Maggin for example all have WILDLY different takes on the relationship between superman and Authority). My personal favorite Take is that Clark as a person is not establishmentarian, but the establishment of superheroes and their conduct codified (or calcified, if you prefer) itself around him and his personal conduct. Both in a Doylist sense and in the continuities where he's the First Superhero a Watsonian one. How does your behavior change when you know people are looking to you to determine what's right and what's allowed for themselves? How does that constrict you, when your actions are dissected and taken for justification? That's why I always think of him as a person whose natural inclination is to be chaotic good, but who restrains himself into being lawful good. Clark would sure LIKE to Solve Capitalism. But he both can't, and will never be allowed to... and that tension, far from being a bad thing, can fuel a good interpretation.

[bitterrobin]

I see a lot of confusion on why calling Damian Wayne "feral" is racist/problematic, so here's a rundown.

There's a difference between calling your child or your younger sibling "feral" and calling a character like Damian "feral." You know your child/sibling/niece/nephew etc. They're real people, and unless they have a problem with it personally, then there's nothing wrong with calling them feral as a joke. It doesn't (shouldn't) affect their perceptions by other people. It doesn't become a label that follows them.

Damian al Ghul-Wayne is a fictional character. A canonically mixed Arab/Chinese/Jewish White character with a history connected to some of the most prominent Arab comic book characters, who themselves also get insanely mischaracterized.

He's constantly whitewashed. He's been written with racist undertones (the suicide bomber vest). He's had his character development and progress backtracked time and time again by DC. DC treats him weirdly most days and completely shitty in the worst stories.

A good majority of fanon hasn't done any better than DC. You cannot pat yourselves on the back for being more inclusive or mental health aware than DC when you call a mixed Arab/Chinese boy "feral". It's constant. You can come up with various titles and nuances for every Bat-character, for every Robin.

Tim can be smart, a skater, a genius, the one holding everyone together, the little brother, the one who needs love. Jason can be cool, morally "right" or "wrong", unstable, PTSD-stricken, the one who was betrayed, the one with Shakespearean tragedies. Dick can be fun, happy, the first one, the prodigal son, the one with complicated history and the big brother.

You give them room for exploration. Love and care and attention and research. Many headcanons. You either comply with canon or you don't, but there's substance to their character.

What does Damian get? He's feral. He's rabid. He's a gremlin. He can't be reasoned with. He has no self-control, he's impulsive. He's hurt others, and you can't forgive it. Sometimes he's homophobic. Or classist. Or plain mean and rude to your favorite boy. He's always carrying a sword. A psychopath with no regard for another's well-being (usually Tim in a lot of fics). He can't be taught what's right.

I've seen people cry that Damian needs to punished or kicked out or treated the same way he's treated others. He needs to be brutalized or talked down to. He can never grow as a person, because he's mean to Tim or Jason, and you need him to exist as the abuser. His first move is always violent.

Fanon compares him to an animal often; he bites, claws, hisses, growls. Bruce or Dick or Jason or Tim have to wrangle him, tame him, civilize him the white man's way in lieu of his brown mother and grandfather who "clearly" raised him wrong. You don't see the issue with that? The issue with always labeling one of the few major brown characters in Batman comics as the unreasonable animal? That the child of color is always the abuser, the instigator, to older characters?

And even if you don't see him this way, you don't write him this way - then are you giving him the care and attention you give for other Bat characters?

Do you know anything else about him other than his "anger"? Because he isn't always angry. In fact, he's typically well-mannered. Quiet even, when he's not being provoked. DC's writing will always vary but whenever Damian lashes out, he's usually written with a reason to act the way he does.

Are you making him intelligent like he should be? A hard believer in redemption? A neglected and abused child who isn't meek or crying or closes himself within? Are you willing to explore that he's always exhibited the "wrong" kind of trauma responses - lashing out, being snippy, ruining relationships, refusing to admit weakness?

Do you write anything about him without making his mother and grandfather comically abusive and violent? Will you give him the supporting cast/friends he actually has? Can you write his dad/siblings interacting with him without making them white saviors or therapy pets? Can you write him without a ship or his love for animals or being vegetarian overshadowing everything?

Is he a character to you at all other than a glorified plot device with a sharp tongue and the convenience of being violent?

[devine-fem]

Now… Due to my birdflash fixation, I have completely struck out and decided to make this post to explain why I read/headcanon them as exes. I now realize that this is going to be a long, drawn out way of saying “I think they have explored each other’s bodies,” well, it’s a little bit more than that 😭. In my head, I always felt as though Wally and Dick’s relationship sometimes read to me as two people who felt greatly for each other in their youths then over time found other people and new purpose and continued to pull away from the other.

Sometimes they treat each other kind of like how I’d treat an ex boyfriend or girlfriend, especially in Flash/Nightwing years.

Now I think it’s important to talk about their roles as Robin and Kid Flash, they are characters created to be relatable, the whole sidekick schtick was about appealing to the younger audience. It was such an early era that it should be noted that Dick and Wally did not have anyone else. Unlike now, Dick has a plethora of Robins to have seperate and distinct relationships with, same thing with Wally, any insecurities and worries can make someone feel extremely lonely. They did not have anyone, anyone but each other.

The early years for Robin and Kid Flash must had been confusing for the both of them so they had to confide in each other. Around this time I feel like it could be easier to fall more into a queerplatonic relationship with someone, Dick could feel confused and lonely, as he does then seeks and finds in Wally, with emotions hitting a peak I could totally see them accidentally falling for the other and sharing a relationship that’s a little more than friends…

It’s a big contrast. Wally has shown this big obligation for helping Dick and being there for him. This has always been strange to me. His inclination to try and be that person for him, which to me can feel like someone clinging to a relationship they know is slipping away.

It’s important to note that as Nightwing, the people there for Dick was not Wally, by this time, Wally became the Flash, found family, found love and entered the JLA. He was moving on and so was Dick but they still feel this inclination to call each other “best friends” though all the evidence says otherwise. It feels like one is clinging to a broken friendship to me.

He’s always so concerned for Dick because he knows how often he represses his emotions.

It’s why in my head, I can totally see Dick and Wally in their Robin/Kid Flash eras, losing their way, getting confused and confiding in each other in let’s say: a romantic way and now as adults they don’t know how to deal with it.

I know Dick is just thinking here but like, they do this A LOT. Like what is the need for this constant tension in the air with these two? Why is it so awkward? Why does it feel like there is something they want to say but can’t bring themselves to say it?

It makes my mind want to fill in the blanks…

Here they are saying flatly that it feels like an obligation. This is the closest they’ve gotten to really talking about how their dynamic has changed. It’s very sweet. It’d also be due to outside factors, like DC not knowing what to do with these two and refusing to let these two acknowledge that they are not best friends anymore and their lives have changed greatly. The thing about Superhero comics is that there’s so much fighting that the characters never get a chance to sit and just talk so it’s more the writers constantly trying to cling on to what they remember the Robin/Kid Flash dynamic to be and making it seem like these characters are clinging to their relationship.

Thry gush about the progress they make a lot and Wally feels like… I don’t know, his pride may fill the void the graysons left behind? Like he’s kind of a subtle replacement. It helps with my idea that Dick could be greiving his parents then quickly subconsciously seek and confide in Wally. Their relationship just is distinctly different from all their other friends in a way I can never pin down or the writers refuse to acknowledge. How Dick is much closer to Donna and Roy but they both still are mindlessly attached to one another like there’s this secret third thing keeping them together.

Wally has fully moved on and found his soulmate. Dick found Kory and fell pathetically in love but now he has nothing again and in canon still does this “Oh my best best friend to ever was, Wally~” It feels very much like someone hasn’t gotten over their little break up… 🙄 Even now they still comfort and talk about each other with a little bit more love and affection then they might do their other friends for this same weird reason.

Although, there’s one Wally West panel that Birdflash shippers had taken out of context: the one where Wally says “I got married and he didn’t.”

It’s not saying that Wally wishes he got married to Dick, 😭 but even then that goes into the little foulder of evidence that proves I think Wally and Dick’s relationship is ex-coded because it’s literally a bunch of thought bubbles about how Wally is heartbroken that he has moved on with his life and his life with Dick and they are no longer as close as they once were at all. (I can’t fit the panel in this post so I can just hope you know what I’m talking about) <- but my point is: Birdflash as a ship could be so much better if we stopped ignoring Linda and started treating them as exes instead. It’s so much more interesting. This is what I mean when I say they are my favorite exes.

[celaenaeiln]

Random question: what are your thoughts on Dick's and Wally's friendship?

They're one of the greatest friendships in DC and that's canon

Flash Plus

Idk about you, but I believe that if you do annual roadtrips with your best friend just because you love spending time with them, then you can't possibly be closer than them.

Actually their friendship is so special that they have an entire comic just dedicated to the two of them being friends. That's how close they are - "Flash Plus".

Wally always covers for Dick

Nightwing (1996) Issue #73

"Go over to best friend's apartment and pretend to hurl."

For sure they're childhood best friends. The ones that grow up together and probably took baths together but still sitting in a hot tub not even six feet apart because they're just that close.

What they call themselves:

Nightwing (1996)

They tell each other everything going on in their lives.

They're so close that Dick actually snuck Wally into the Batcave

The Flash (1987) Issue #210

And then Wally shit talks Batman just to make Dick feel better and gets caught

'LOOK AT THE WAY BRUCE LOOKS SO MAD. HE FULL ON HAS HIS HANDS ON HIS HIPS 😂😂😂 LOVE THAT

"*growl* *growl* keep talking. I dare you. *GROWL*"

Because while Dick acts as the world's emotional support human being, Wally acts as Dick's personal one. He always watches out for his best friend's emotional wellbeing.

For example, when Dick didn't want to reform the Titans, Wally explains why he brought it up. And why he's insisting on it.

"You need this."

The Titans (1999) Issue #1

"My mission is to keep you from turning into your guardian. Batman may be a loner, but you need a family around you." "You'd really join another team just so I could have a social life?"

Wally's personal mission in life is making sure Dick is happy, safe, and healthy.

He tells Dick secrets he NEVER tells anyone else

The Flash (1987) Issue #210

"I only told that story to one person. Dick Grayson...my best friend."

His greatest regret and sorrow is that he doesn't get to see Dick more often

If Wally had his way, Dick would be living with him and Linda since the day they got married.

The only times they fight is when Dick is being too self-destructive and won't listen to reason so Wally ends up getting mad.

When Barbara can't get through to Dick, she sends her failsafe to pick him up and knock some sense into him

Dick is literally depressed and wants to give up after he killed the Joker. He won't listen and so what does Barbara do?

Nightwing (1996) Issue #63

And thank god it works. Even if Dick won't listen to anyone, he'll listen to Wally.

Wally loves Dick an extreme amount.

"The Flash is disassembling an entire collapsed, burning building. He doesn't have super-strength. He's just working as fast as he can. He'll do whatever it takes to get to me."

"He heals fast, but he's probably broken his fingers several times..."

And Dick loves Wally just as much.

Nightwing (2016) Issue #90

"My best friend."

[frownyalfred]

if you feel like it (and if this question even ends up making sense lol), would you mind talking about how you feel about bruce being jewish? not like the idea of jewish bruce wayne, i mean the fact that in 2011 or so he was retconned kind of accidentally into being jewish. i ask bc i, as a jewish person, have a lot of mixed to negative feelings about the whole thing, and you seem not to. i really hope this doesn't come out as like judgy. i don't think you should feel negatively about it. i'm genuinely just interested in your thoughts and feelings about this. two jews, three opinions, lol

It's not judgy! As you said, two Jews, three opinions -- there's no right answer here.

As I mentioned in my Jewish Bruce post, the likely accidental ret-con of Bruce to likely being Jewish is a tricky subject. It's simultaneously a good moment for Jews who want to feel represented, and a bad one for those who think Bruce's story is not an adequate or appropriate vehicle to convey Judaism.

The reality is, Bruce isn't visibly Jewish now, nor is he practicing or displaying overt cultural, ethnic, or religious influences. He's Jewish by halacha, which is its own mess of significance for Jews.

Personally, I feel that Bruce's emergence as a Jew by halacha, and not by practiced religion or culture, is an important discussion to be had in our modern, interfaith, assimilating culture.

Barring the Orthodox communities, the number of young observant Jews is dropping. Jews are increasingly marrying into other faiths, assimilating, and raising their children outside of the faith. When Jews do stay in their communities, they tend to stay in more "liberal" ones such as Reconstructionist or Reform congregations. You can read more about this at the Pew site.

There are, and will continue to be, many people who find themselves cut off from Judaism and either halachically or ethnically Jewish in the next few years, with little to no connection to the religion, ethnicity, or cultural traditions.

So in this respect, Bruce being cut off from Judaism by nature of his family structure and abridged childhood is good to see, because it's representative of a new generation of Jewish children or interfaith families. Or it will be?

But. There are many Jews who do not identify with this at all -- who grew up in the community with strong ethnic, religious, and cultural ties, who see Bruce's (accidental?) ret-con to Judaism as rushed, dissatisfying, half-hearted, a million other words.

I don't want to assume what you or other Jews are thinking about this, but I can guess. It's not fun to see your religious identity thrown around somewhat flimsily, especially when there remains such a deep and consistent Jewish influence throughout the DC comics.

Why Bruce? Why not Hal? Why hint at it, or make him somewhat Jewish? Why not have a fully-Jewish character? Why not have a character who embraces Judaism as a belief system?

I think the mixed feelings over Bruce's ret-con highlight the growing divide within the Jewish community over who is, and isn't Jewish, and by which standards we judge those who are peripheral to the community.

Having worked with many converts and patrilineal Jews, I have deep sympathy for those cut off from the Jewish community, especially when it is by halachic rule. How can someone who was raised by a Jewish father, who is 50% Ashkenazi, who had a Bar Mitzvah and attends shul regularly, not be as Jewish as someone who was born to a Jewish mother and rarely, if ever, practiced the religion?

We make conversion to Judaism a tricky, difficult, and conditional process. Reform marriages and conversions are questioned by Orthodox rabbis and not considered valid by others. Some people are Jewish in one synagogue and not Jewish enough in another. It's so hard.

So yeah, in my other post linked above I think I called this a happy accident, which is how I'm trying to view it. It makes me happy to have a character to push Jewish headcanons and fic ideas into to, and to tease out the themes of community and what it means to truly be Jewish from Bruce's story. But I don't expect that to be everyone's else's experience at all.

I'd be curious to hear your, and anyone else's, thoughts on this. Again, two Jews, three opinions -- nobody is right here, and we all change our minds a LOT.