#now it seems like it's just more foreshadowing that he knows Tim = Robin but dammit I was invested in the villain thing lol

[umbrellacam]

.

[scandalsavagefanfic]

Hello! I am a huge fan of ur writing. I've loved everything I've read of yours. I've read alot of what you've posted, except for a couple of the tags that are squicky for me (so I'm very thankful you tag very thoroughly). No judgement for the squick, it's just not for me. & when I'm having a bad day, I usually just go thru ur ao3 and find something to reread. I think about Therapy's Bruce & Jason every damn day. While I obvs appreciate ur darker more "problematic" content (I really vibe with some of the themes you write about bc of my own trauma, & so it's very cathartic to read about in a fictional setting), I am truly a sucker for ur more happy content. The Happily Ever After verse also lives in my head rent free. Idk more wholesome stuff just seems more special when you write it. Anyways. I would die for you. But the point of this ask is cause I'm curious as to why you don't like Urban Legends? I'm sorry if you already talked about it here or on twitter and I missed it. I was just wondering because I really enjoy your take on things and would love to hear why you dislike it. I've been enjoying it so far personally, but I am always open to DC comics criticism.

Aw thank you so much! I'm so flattered by everything you just said. You're so sweet ❤❤❤❤❤

I haven't talked about Urban Legends here or twitter (I haven't been very active in either place lately. Just a lot going on and no energy 😔) but I'm happy to do it here.

Before I start though, I just want to add a standard disclaimer and make it clear that if you like it, there's nothing wrong with that and you don't have to let me ruin it for you lol. Like what you like.

That said, since you asked...

I said this when I was talking about it on discord, that there is a difference between hope and expectation. I always hope that a new story centered on Jason (or anyone really, but things have been especially egregious for Jay for 15 years) will be good or at least treat the character with a minimal level of respect (to be honest, the bar is super fucking low). But my expectations always temper my hope, to keep it from getting unrealistic. Because my expectations are based on experience.

The long history of Jason Todd, since even before his resurrection, has been one of retroactively trying to make him "a bad seed" in order to absolve Bruce of any responsibility in his death.

I don't even expect DC or their writers to start honoring the fact that Jason was not an angry, reckless Robin (and less of the later than Dick or Tim and definitely Damian). There plenty of ways that retcon can be folded into his history and be compelling and sympathetic. And if they're going to stick with that retcon, I'm only asking that they do it in one of those compelling and sympathetic ways because Jason was 15 when he died, heroically, in one of the most selfless acts in comics, to save a woman who literally handed him over to be brutally murdered. He was 12 when Bruce plucked him off the streets, he'd been homeless and fending for himself for at least two years. I personally think that Jason's story hits harder for him and Bruce if their original, canon relationship, of Jason as starry-eyed and eager to learn and absolutely devoted to Bruce and Bruce to Jason, is preserved. But Jason's origins does leave room for a meaningful interpretation of him as angry and frustrated at the lack of meaningful results of Bruce's methods.

And that's really where my irritation at stories like Batman: Urban Legends, Cheer and Batman The Adventure Continues has it's roots.

Every time one of these stories comes out, I think (or hope, rather) that this will be the one that remembers and respects the origins of the Jason and the Red Hood, that takes into account the changed sensibilities of comics readers in the 30 years since Jason's death and the subtle, 20 year, retroactive campaign to make him the "bad Robin". The "born bad" trope is played out and literally no one likes the message it implies. That some kids are just bad eggs and there's nothing parents or the adults around them can do. Especially when it's played as the kid's fault. If Jason's time as Robin is going to be characterized by anger, then it should be rooted in anger at the social injustices he witnessed as he grew up in an impoverished, crime-ridden, area and the horrors he faced raising himself when every day was a battle for survival. There are topical, meaningful, stories to tell with that backdrop.

But those are never the stories we get.

⚠⚠ Spoilers for Batman: Urban Legends, Cheer ⚠⚠

I'm particularly disappointed in Urban Legends because for the first issue, it looked like that was the kind of story we were going to get. I was put off by the first flashback of Jason being mesmerized by Bruce's guns, and I got that feeling in my gut that it was a bad sign. Jason depicted as impatient and overconfident and the scene with the guns is heavy-handed foreshadowing that got my spidey-sense tingling. I had a inkling then (in the first three pages) of how this story was going to play out, but it was early and I could still see many narrative paths that could lead to a satisfying story. My concerns were soothed somewhat and the little flame of my hope fanned, with the flashback of Alfred scolding Bruce, with Barbara's concern for Jason. A bit of worry returned with the way Jason ruthlessly pursued an addict who didn't appear to be a dealer and with the ending of the issue. The stuff with the addict sat wrong with me but the ending was tempered some by how despicable Tyler's dad was written. The scene was clearly set so that the reader could sympathize with Jason's decision and the scene with the addict could be brushed aside as a side-effect of comics over-the-top need for constant action, so I still held hope.

Issue 2 made me uncomfortable and it's where my hope starts to take a backseat to my expectations. I can dismiss Jason's self-deprecating internal monologue as unreliable narration, except that the flashback reinforces his thought process to explicitly show that it's not unreliable narration, and should be taken at face value. Jason faces physical abuse at the hands of his mother's drug dealer and when the flashback continues later, Jason kills the drug dealer. To be clear, this is a pre-Bruce Jason. His mom is still alive. He's like... 10. He kills this guy for shoving his head into a wall and implying Jason's mother paid for her drugs with sex. This is a scene that serves a single purpose. To show that Jason has always been prone to violence.

In the spirit of full disclosure, there is the small chance the drug dealer might not be dead. But the story obviously wants the reader to think he is, and it hasn't done anything to change that yet.

Starlin already did this story with The Diplomat’s Son in 1988 and he did it infinitely better. AND that’s still technically canon. So now I’m supposed to believe that Jason lost his cool bad enough to kill two douche bags before his sweet 16? Like it’s totally normal for abused kids raised in poverty, who’ve led hard and heartbreaking lives to just... haul off and kill people? That’s bullshit, and when taken with the Jason in the third issue, who is little more than an idiot thug, this story is really doubling down on some fucked up stereotypes.

Which brings us to the most recent issue. I went into this installment with very low expectations. I thought this story was going to be about Jason, through this experience with Tyler, a young boy with a similar background to Jason's, coming to the realization that Bruce's way is the best way and that Bruce did his best by Jason.

That would be annoying (in no small part because it takes increasingly absurd levels of plot armor to keep Bruce's no kill rule relevant, let alone irrefutably right). But I can probably live with that, if only because maybe if Jason officially falls back into line with the Bats crusade, maybe I'll get stories that treat him with respect, stories that don't relegate him to comic relief, dumb brute, or a background body with no lines in a story about the Joker burning Gotham (like Jason would just fucking stand there quietly for that).

And that may still be where the story is going, Jason realizing Bruce is right.

But holy shit do I not have the right words to describe how fucking insulting and gross issue three is.

From start to finish--including the flashback--Jason is written as cruel and fucking stupid. Like straight up dumb.

The entire issue is Bruce explaining the fucking basics to Jason like it's his first day. And Jason flies off the fucking handle and terrorizes a doctor he knows isn't a part of making the Cheerdrops, beats the shit out of some random addicts, and finally, when he can't accomplish anything on his own because he's a dumb brute he calls Barbara for help and rushes in with no information where he's promptly incapacitated and must now wait to be rescued by Batman.

This panel is the least of the issues sins but I can’t screenshot the entire story but it’s representative of the tone for the whole issue (and retroactively tainted the prior two issues).

This is beyond insulting. The only conclusions Jason comes to in this issue are the ones Bruce leads him to by talking to him like he can’t make the simplest connections. And like... in this story Jason can’t make the simplest connections.

This (and the Jason throughout the entirety of this issue) is a far cry from the Jason we fell in love with in Under the Red Hood, who was competent and strategic and intelligent enough to seize control of Gotham’s underworld from Black Mask (who’s no fucking slouch, he’s the first and only person to unify organized crime in Gotham) AND elude and manipulate Bruce until the time and place of his choosing.

This is a far cry from even the Red Hood and the Outlaws Jason who is competent enough to fight the League of Shadows and Ra’s al Ghul (among very dangerous and skilled others) and smart enough to create antidotes for mind control nanotech viruses.

As he should be, by the way. Jason Todd is one of the best, most comprehensively trained fighters in DC’s stable of non powered vigilantes. He’s not irrational or hot headed. He’s pragmatic, tactically minded, and patient. He’s a detective. Right now. Has been since he was 12. Bruce doesn’t have to make him one because he already is. 

Jason is not a stupid thug who uses his fists because his brain doesn’t work. And I can’t tell you how so very exhausted I am by this narrative. 

This is actually the most egregious example of Jason’s skills and intelligence being not just undermined but dismissed entirely. Even Morrison’s Jason had some degree of competency. 

The one, single redeeming factor of this story is the art. It’s beautiful. And Marcus To is a godsend he seems to be one of only a couple of artists who remember that Jason was a child when he was Robin and I’m literally only buying this book because of him. 

Anyway, I’m sorry. I didn’t want that to come out so... um... passionately lol. I’m just very very tired. My intention with this isn’t to ruin it for you, if you like it, that’s fine. 

But this issue shot this story to the top of my "Vehemently Despise” list. 1) Batman: Urban Legends (Cheer), 2) Battle for the Cowl/Morrison’s Batman and Robin, 3) Batman The Adventure Continues.

I hope the next issues somehow salvage this dumpster fire. But I’m not expecting it.

(Damnit. That sounded harsh again. To reiterate, I’m not trying to judge anyone who enjoys it, I just personally hate it and you asked me why lol 😅)

[taiblogcomics]

Robin the Readership of Plot Development

Hey there, beta chat programs. Looks like it's time again to review another terrible issue of the New 52's Teen Titans. But not just any issue, as I intoned at the end of last week's review! No, my friends. We've got a gimmick to this issue~

So, it's the anniversary of the New 52's beginning. Like, not today. Back in September, actually. But in the comic's timeline that we're following. It'd been a year of publishing their reboot, and I don't know if you remember this from the last time we covered it eight years ago when it was new, but what they did to celebrate was this: Zero Month. All of the comics--at least, all of the ones that hard survived as far as 12 issues--spent the anniversary month putting out a 0th issue to explain some backstory. It helped it some cases! Others... not so much~

Here's the cover:

So every cover of the Zero Month was like this: washed-out grey background, character breaking on through to the other side, and not much else. Some folks who remember back that far might remember Catwoman #0 having an infamous pose, but otherwise all these covers were identical in composition. There's really not much to say about it. When every issue released that month had roughly identical covers, none really stood out, which is not what you want in a cover~

So the comic opens with the taunting phrase of "Before the New 52"! Which it's really not. "Before the New 52" would imply the old continuity. But all they really mean is "before the events of issue 1". Anyway, this is an origin story for Tim Drake. We start with three full-page splashes of him doing a bunch of gymnastics for a crowd, which includes his parents. I was afraid it was going to jump right into the essential parts of Dick Grayson's origin, but with Olympic prospects instead of circus stuff. Fortunately, nothing happens here, and he finishes his routine with no ill effects and heads out to meet his parents.

Like in the previous continuity, Tim starts with both parents. Which is noted by the person watching him in secret--Batman. Yes, in this continuity, Batman's already scouting Tim rather than Tim seeking out Batman of his own will. Batman notes that he doesn't want to recruit a new Robin, not so soon after Jason, and not while Tim still has a family. That's... kind of ominous, Batman. ...Are you the villain? Speaking of Tim's family, though, his dad meets him in an extremely ominously-lit room and tells his son that it's okay to want more and be bigger than just this family. Come on, Dad, that foreshadowing is way too much.

Just to prove me wrong, Tim sneaks out of his room that night to go apply for a job: Batman's apprentice. Heck, he'll even settle for an unpaid internship. He's deduced that Batman's HQ is in the old Gotham Aviary. He's wrong, but Batman is content to let him think he's right. In fact, every clue he's followed has been something Batman's planted. Tim puts out the armour-piercing bit, though: what happened to the previous Robin? Batman scowls and disappears, telling Tim he'll never see him again. That seems highly unlikely, given how many comics Batman was appearing in at the time~

Tim's not ready to give up, though. See, he wants to follow his dad's advice and become something bigger than not only his family, but than himself too. And so he keeps trying to find ways to get Batman's attention. Unfortunately, he gets someone else's as well. See, he's been using his hacker powers to transfer money out of criminals' accounts into charitable organisations. This is pretty cool. The problem is, he's now targeted the Penguin's stash. The Cobblepot fortune has been stole, and the Penguin is big mad about it.

The Penguin traces the activity back to Tim--I guess he's not that good of a hacker--and sends some goons to his house. Batman arrives just in time to save Tim from a shootout. And to this book's credit, it doesn't end in the tragedy you think it will. Tim's parents both survive the gunfire and are placed in witness protection. But to keep them safe--and to give Tim that "life bigger than this family" they keep talking about--they agree to have Batman look after Tim instead. And Batman decides that the best way to keep an eye on Tim is to make him his partner, just like he wanted. Superman may be the Man of Steel, but Batman is the man of irony~

And so, Tim Drake forges his own identity as Batman's partner. He opts not to wear Jason's old uniform, mostly out of respect for Jason, but also because have you seen Jason's old Robin uniform? In fact, to set him aside as his own identity even more, he opts to call himself Red Robin rather than just Robin. Sorry, Tim, but "Batman and Red Robin" will never catch on as a popular name. Anyway, he's already begun his research, looking into stories of metahumans his own age. And... that's the end! It ends on yet another splash page, depicting him and Batman as crime-fighting partners, even though this is the zeroth issue for a team book without Batman in it~

This issue... is not that bad. It’s a fair origin for Tim Drake, I suppose. I’ve never actually read A Lonely Place of Dying, which was Tim’s origin in the pre-New 52 continuity, so I don’t know how it compares. At the very least, this one surprised me for a New 52 origin. I’m very glad they didn’t kill off Tim’s parents, even if they more or less removed them from the story anyway. That’s always what made Tim unique, that he still had supportive parents around. And while they may no longer be around in the technical sense, at least it didn’t end in gunshots and tragedy.

The other major change is mostly Tim’s motivation. In this, it seems Tim’s doing it more or less to prove something to himself, to make himself into something bigger. In the original? Again, I haven’t read it, but my impression of the story was that Tim noticed something change in Batman’s demeanor after Jason Todd’s death. He thought Batman needed a Robin to balance himself out, and volunteered himself for the job. And that’s what impressed Batman: that Tim volunteered for it, rather than letting tragedy lead him there like it did for himself or Dick Grayson. And that, I think, is a bit of what’s lost in this origin. And that Batman’s so pissy about it. “You didn’t discover anything that I didn’t let you find out” and all that. That’s dangerously close to the same rhetoric as Harvest~

Next week, we’ll get back to the main story, and the story will get back to sucking~

[ravensroundofrobins]

Since most of y'all Don't seem to Know her.... Let’s DO THIS BRIEF HISTORY OF ROBIN!STEPH BUCKLE TF UP BITCHES

(Note: For the most part, Steph’s time as Robin is included in the War Games TPB, especially because it serves as a catalyst for said event. Highly recommended the read, but mind, like, everything about it) ((also also tumblr only allows 10 pics, so I'm cherry picking my fav panels/most important ones. + offering a bit of meta. take this with a grain of salt and Please read War Games and draw your own conclusions blah blah))

So to start with, a little Context to Steph’s Start as Robin:

Tim’s dad found out about his Robining & made him hang up the cape+mask. As any Concerned and Reasonable parent would. Steph is still operating as Spoiler at the time, despite many attempts by many members of the batfam (but especially Batman) to dissuade her from crime-fighting.

Due to a gross misunderstanding (as these things tend go in comics *sigh*) Steph, who is dating Tim at the time, sees a girl who was interested in him make a move & thinks that Tim is cheating on her. She channels this grief/mourning/anger into making her own homemade Robin costume and convinces Batman to take her under his wing (he sets the conditions that she must follow every order, with a ‘one strike, you’re out’ kind of policy). She undergoes an unspecified training period to get in Proper Shape For Crime Fighting and Batman starts taking her on various patrols and investigations.

During this time, she also teams up with Batgirl (Cassandra Cain) on more than one occasion (one of my fav panels below, just bc its so stylized lmao. its Cute)

During this time, in true Robin Tradition, Steph builds up quite the rapport with Batman, providing a lighter/comedic side and being a general breath of fresh air and foil to the Dark Knight. (just LOOK at this banter & Bargaining for the batmobile!!! a TRUE ROBIN)

There’s a couple cases that I won't get too far into (but one i want to briefly mention involves Zsasz and Steph going almost a bit too far when trying to subdue him. its a very clear parallel to Jason & serves as foreshadowing for how War Games will play out i.e., Steph’s fate) 

Now during this time, there’s an assassin/merc who is killing off teens who were suspected to be Robin (Tim Drake), which Batman catches wind of and the Dynamic Duo moves in to put an End to. (look at this smug lil robin, catching the Bad Guy™ off guard. ADORABLE)

Another thing to note now, is how Eager Robin is to jump onto the case and into the fray. and how carefully she toes the line when following/questioning batman’s orders. this is touched on many times often either with her able to juuuuust reason with the caped crusader enough to Bend his own orders or even to change his mind on occasion.

(a thing i want to note here with this panel and with this particular time in Steph’s career as Robin is that the writer had her referring to Batman as ‘Boss’. whether this was intentional or not, it most closely resembles, to me, Carrie Kelley’s mannerisms as Robin. i.e. another Robin that the writers may have been using as inspo/to parallel. Carrie’s time as Robin is also defined by Batman’s grief from losing Jason, and is given a very similar probationary status that Steph is given during her time as Robin. coincidence? maybe. but i think not.)

While they lose track of the villain initially, Steph’s quick thinking to place trackers on her is what saves the mission. at the Moment at least. Batman makes a decision to bring Robin along when tracking their prey, but orders her to stay behind in the batplane & ‘not touch anything’ unless ordered to do so. which is where we get the Defining Moment:

When Steph, against orders, jumps into the fray. its something to be admired, and very Typical Robin Behavior (bc where would they be if they weren't impulsive and, well, KIDS, amirite?) but unfortunately, her decision costs them the chance of apprehending the villain, and Batman stays true to his word...

and she's Fired (g o d I'm not the biggest fan of damion scott’s art but this look BROKE MY HEART. i can practically HEAR those choked back tears and see that quivering lip like... G O D BRUCE NO. GIVE HER ANOTHER CHANCE. ANYTHING ELSE THAN WHATS GONNA HAPPEN)

here’s where I'm gonna TL;DR War Games for y’all bc.... holy shit its a LOT. and Steph’s involvement really only begins it, and essentially ends it. (literally lmao. she's featured a little throughout but like. its a Crossover Event™ for a reason. everyone gets a little bit of the spotlight, which means a bit of shuffling around ofc) but Anyways

tl;dr - steph takes one of Batman’s contingency plans on her way out of the cave & implements it w/out being aware of a few Key Details. all out War breaks amongst the different gangs of gotham, with Batman & company trying to regain control of the city & maintain order. Black Mask resurfaces, catches and tortures Steph to learn details about the plan and makes his own grab for power (fun fact, for those of you paying attention to the Big Picture: this essentially sets up for his position later on in Under The (Red) Hood when Jason starts wrestling that control away from him) Steph manages to escape, Batman takes her to Dr. Thompkins clinic, and Leslie reveals that her condition is critical. bruce makes it back in time to be by steph’s side for this:

and then she dies ;-;

BUT THIS IS COMICS- so its revealed initially that Leslie withheld treatment to save Steph’s life to Make A Point and try to dissuade Gotham Youth from following Steph’s path. BUT-BUT WAIT THERES MORE BC THIS IS ~*C O M I C S*~ so its ALSO revealed later on that steph DIDNT die. Leslie helped fake her death and blah blah blah, Steph comes back, gets to be spoiler again, then batgirl and the rest as they say is history

anyways. STRAIGHT FROM THE BAT’S MOUTH THANKS. Steph WAS really™ a Robin™ and as much as DC wants to pry that from my gay goblin hands they WONT be able to. and anyways... She Earned It. okay. give this girl the Respect she deserves. 

(now since I'm a Shipping Blog™, ima add some thoughts regarding her parallel to other robins and how Theoretically a relationship with raven might work out)

Again, the biggest parallel that DEFINES War Games and Steph’s time as Robin, is that to Jason Todd. (fun fact/sidenote: they’re both Leos, so like. Another Connection btwn the two lmao) They’re both impulsive and eager to prove themselves, and follow Batman with unwavering faith and loyalty (up to a Certain Breaking Point that is). They’ve got especially cheeky attitude and flair for drama, and hey. Narratively speaking, writers seem to have a penchant for drawing a few connecting lines between them (again, by starting the WG TPB off with Bruce mourning on Jason’s bday & setting a Tone for the overall event. and then again, by having a major character for UtRH be the very same villain that killed our former girl wonder) 

Now with those lines drawn, and with an understanding of how Jason has interacted with Raven in-canon (with mostly cordial interactions and for the most part respectful analysis of each other’s abilities & strengths), & no known connection between Steph & Rae as of yet, we can really only assume a few things:

-like most of the batboys, Raven is very likely to get along with Steph and to respect her abilities given that Steph respects her in turn.

-Steph’s bright, extroverted personality could again work as a good foil/compliment to Raven’s more introverted/muted one.

-theyve got what i like to call the Bad Dad™ connection (with Steph’s being a former Gotham Rogue™, and Raven’s... well.. y'all Know) Steph’s already shown great Morbid Humor regarding this part of her life (shown in her interactions with Cass) and is very willing to bond with others over Sucky Parents

-while stephanie has a canonical Love™ of Waffles, and raven (at least in regards to her Most Popular fanon from the 03 cartoon) has a fanonical love of them as well. Hence, they ARE the Waffle Queens (embrace the ridiculousness, guys. DO IT)

-Since steph is not an Adopted member of Bruce’s family (& again, more often than not they have attempted to dissuade her from vigilantism) and similarly, due to Batmans Dislike of meta-humans/outsiders messing with Affairs in His City, as well as some of his canonical Distrust™ for Raven due to her mysterious background/nature. this could be another minor/potential bonding point between the two

-likely more??? its getting late, and not much else I can think of off the top of my head, but i might add more to this later. 

as a ship StephRae has as much potential as any other, and since there’s not a lot of canon to really go off, fans can really take it.... wherever and i think thats beautiful

[sebeth]

Injustice #4

Warning, Spoilers Ahead…

 Injustice: Gods Among Us # 4 by Tom Taylor.

 Dick and Damian spar in the Batcave. Dick critiques Damian: “You keep aiming for that killing blow, you’re trying to hurt me, which I’m trying not to take personally by the way, but it’s not all about the body and head. Your opponent has sticky -outy bits that are easier to reach. Not only does your opponent have sticky-outy bits, they may also have had some bad circumstances that led them to a point where you’re fighting them. Some criminals deserve a second chance. Second chances are harder with a severe brain injury.”

An angered Damian hurls an escrima stick at Dick’s head, which is caught by the newly-arrived Superman.

“That’s not very sporting, Damian.”

Dick assures Clark: “It’s okay, Superman. I knew it was coming. He tries it all the time.”

The opening scene is foreshadowing for later events in the series. Damion’s routine hissy fit with the escrima sticks will end up having severe consequences.

Events before the beginning of the series in this universe are rather vague. We don’t know the circumstances of Damian’s introduction to the Bat Family. I would assume it’s similar to the mainstream universe. Damian appears older than 10, possibly in the 13-14 years old range.

Tim became Red Robin in this universe but we aren’t given details. Did Final Crisis happen? Was Bruce lost in time and presumed dead? Or is Dick’s mentorship of Damian similar to the animated movies?

Superman is at the cave to speak to Bruce. Damian says Bruce is “broodier than usual.”

Damian thanks Clark for killing the Joker: “Not that the Joker’s gone, everything just feels safer, you know?

Dick asks Clark if he’s okay. Clark says he’ll manage.

Clark demands to know where Bruce was when Ma & Pa Kent were kidnapped.

Bruce tells Clark that he has to “stop what you’re doing”.

“I have to stop what? Stop saving lives? Stop bringing dictators to justice?”

“You’re scaring them.”

“They should be scared. They should be too scared to press the button. They should be too scared to pull the trigger. They should be too scared to hurt each other. You taught me that. You’d do exactly what I’m doing if you were me, if you could do what I can.”

“You killed a man, Clark.”

“I did. And every time you let that madman live, how many more did you condemn? Did you even feel responsible? Did you even feel guilty?”

“Every time. But we don’t get to choose who dies.”

“One death. To save millions.”

“One. Death.”

“It always starts with one. That’s how justification works. But once you justify something once, you can do it again and again. It becomes easier. Right and wrong blur.”

I find myself on both sides of their argument. Bruce is absolutely correct on the slippery side nature of taking the law in your own hands. Superman and company have no right to run the world. On the other hand, killing the Joker is something that should have been done years ago. The Joker’s body count is in the hundreds if not more. There is no hope of redemption for him – and even if he suddenly regretted all of his previous actions, there is no way to atone for his scale of murder. And this is before the Metropolis massacre. The Joker – and Harley’s – death toll is now in the millions!

A Japanese fleet harpoons whales in the ocean only to encounter a very angry Aquaman.

Aquaman sinks the ship causing the Justice League to respond.

Diana urges Arthur to withdraw. Arthur refuses – the ocean is his kingdom and he will protect it as he sees fit.

A worried Atlantean soldier blasts Diana, starting an Altantean-Justice League brawl.

We return to the Batcave where Clark accuses Bruce of loving the Joker: “You’re not sitting in the dark mourning Metropolis, are you? You’re mourning him. You’re angry at me for taking the Joker away from you. You loved having him around. Your constant nemesis. The two of you played your stupid game and people died. Why did you let him do this to me, Bruce?”

While the suggestion of a Bruce/Joker love match is disgusting, Bruce should have ended the Joker years ago. Honestly, the Joker should have been killed – and left dead – in the Death of the Family storyline.  After the paralyzing Babs/murdering Jason combo act, the only thing the writers seem to do with the Joker is have him commit yet another atrocity. Boring and redundant.

Clark continues his rant, bemoaning the loss of his wife an unborn child. Clark specifically mentions the loss of his unborn child denying the world of another Kryptonian, “someone who would have made me feel less alone.”

Maybe Clark should try being nicer to Conner!

Clark criticizes Bruce’s parenting skills: “You’re sitting in the dark, ignoring Dick and Damian. How many friends did they have in Metropolis? Have you consoled them? Have you held them? Your parents died and left you, Bruce. What’s your excuse for not being a father?”

I don’t know if the events of a future Injustice annual were planned out at this point but if they were, Clark’s speech is rather ballsy and hypocritical considering his treatment of the Titans in the aftermath of the destruction of Metropolis.

Did Clark ever consider Bruce is “sitting in the dark” at the Batcomputer because he’s searching for his missing son? The one Clark banished to the Phantom Zone?

Dick and Damian wouldn’t normally have “friends in Metropolis”. Jon was never born and Dick doesn’t hang around in Metropolis. Is Clark’s “friends in Metropolis” rant the first clue Bruce has regarding the whereabouts of the missing Tim and the Titans? Is that the reason Bruce punches Clark at the end of his speech?

Clark switches from angry to concerned in a second, examining Bruce’s hand. Normally, I’d say it’s a typical Clark move, but in the Injustice-verse it’s a sign of Clark’s growing instability.

The Batcomputer alerts the duo to the brawl in the Atlantic Ocean. Clark decides to head over there.

Bruce warns Clark: “You can’t yourself above us, Clark. You’re right. I’m not saying I’d act differently if I had your abilities. I’m not saying I wouldn’t try to impose peace but you…you’re a better man than I am.”

Not anymore, Bruce.

Alfred asks “Master Kent” if he’s staying for tea.

“I’m afraid not, Alfred. And you don’t have to call me ‘Master’”.

“Good. Let’s remember that.”

Alfred is not fond of Clark’s shenanigans.

Aquaman has summoned a creature so huge that its arrival causes a tsunami. That’s right, the Kraken has been unleashed.

Batman warns Aquaman via a communicator: “Listen to me. He’s coming. He’s in angry. He’s in pain. You’re hurting his friends. You need to stop or there’s no telling what he may do. Do as he says.”

Superman wants Arthur to withdraw the Kraken.

Arthur does after reminding Clark the League started the brawl. Which they did. Arthur attempted to calm the situation down after his soldier blasted Diana. Diana decided she was “tired of words” and started the rumble.

Arthur and Clark argue.

“I called for a worldwide ceasefire.”

“Even your voice does not reach down into the deep, Superman. If you wish to rule the surface world…”

“I do not seek to rule, only to protect.”

“I understand, with the destruction of Metropolis, you lost your kingdom. But you can’t have mine.”

“I do not want…”

“Superman, whether you see it or not, your reign is beginning. But the sea is mine alone to command.

The League realizes “Atlantean armies are rising in countries across the world.”

Superman: “Arthur, what is this?”

“A reminder. I am not some self-appointed leader of an insignificant country who can be bullied into submission. Every port. Every ship. Everything that flies over the oceans does so with my blessing. Your world would halt grind to a halt if I willed it. Every land mass borders the sea. Your entire world is inside mine. Consider this a show of strength. Now get the hell out of my ocean.”

Bruce fumes: “You idiot. He’s not going to respond to an ultimatum!”

Clark orders Diana, Hal, and Billy to accompany him: “Aquaman is using his strength. It’s time we showed him our strength. It’s time we showed everyone who would threaten the world just how much power they’re dealing with. No more holding back.”

The foursome then lift Atlantis out of the ocean and re-locate it into the middle of the Sahara desert.

That’s the show of strength? Lifting a city containing thousands of civilians, women and children, and putting it in the middle of an environment where they are unable to breathe or tolerate the extreme heat. Sounds more like a murder plan.

It should be noted the panels containing the “rising Atlantean armies” only showed the Atlanteans standing in formation on the coasts – not actually attacking.

I’m not defending Arthur – he, along with Clark and Diana, all acted like immature toddlers having a fit.

The forcible removal of Atlantis is where any remaining sympathy for Clark went out the window. He acted like a terrorist. A “proper show of strength” would have been engaging the Atlantean armies not threatening unarmed civilians. It boggles my mind that the rest of the Justice League has been fine with Clark’s actions.

Diana is clearly a more sinister version of herself in this universe. She’s been egging Clark on the entire team and she is the cause of the Atlantean confrontation.

Hal should know better – Sinestro was removed from the Green Lantern Corps because of Superman-like actions – but he’s shown bad judgement in the past so I could maybe see him siding with Clark. It’s still iffy as Hal hasn’t been traumatized by the destruction of Coast City in this universe.

Hawkgirl – well, if she’s “Hawkworld” version of Shayera then she would be comfortable in a military-run world

Raven – will be shown to have fallen under Trigon’s influence so she’s clearly fallen to the “dark side”

Cyborg, Captain Marvel, and Flash are simply too good/sweet to fall in line with the dictator posse. Boggles my mind to see the trio blindly following Clark and Diana’s orders.

Diana informs Clark that Arthur is ready to speak to him. Clark demurs, stating “I’ve achieved nothing by talking today.”

More like cowardly refusing to own up to his actions.

Arthur urges Diana to steer Clark “away from this course of action”, warning her that “you will have scared a lot of people today. Ordinary people who will not want gods and aliens telling them what they can and can’t do.”

Diana refuses as she believes “this course of action is what’s best for the world.”

Diana returns to Clark and informs him that Arthur “will pull his armies back into the ocean”.

Clark has Billy and Hal return Atlantis to the ocean, nothing “this action didn’t sit well with either of them.”

Diana tells Clark “Don’t worry about what they think. You did the right thing. You did what needed to be done.”

“So you’ve said.”

“I won’t let you doubt yourself.”

“What else?”

“What?”

“Surely Arthur had more to say.”

“No. Nothing.”

Diana omits Arthur’s concers and his expressed sympathies for the loss of Lois.

Diana is quite the sinister manipulator in this universe. She’s all but hurling Clark down the “slippery slope” of his actions.

It’s easy to see the reasons of Clark’s descent. He’s lost his wife, unborn child, and his entire city. He’s isolated his parents in a fortress instead of mourning with them. He has a fierce anger towards his best friend because of the Joker and is unwilling to listen to Bruce. Diana, his other best friend, is urging him to indulge in his worst impulses. And the rest of the Justice League – minus Arthur – is too cowardly to call him out.

Next issue: It gets worse. Of course, that could be the summary for every issue.

[redhoodsrobin]

I like giving really extended author’s notes (or ‘director’s commentary’ if you will) about my fics, but since AO3 is hardly the place for adding those, ehm, guess it’s gonna be bonus content for the tumblr crowd?

Now chapter 3 of No Shadow Falls is up, I just really want to ramble a bit about the thought process behind it. Do people give spoiler warnings for their own fics? If so, consider this it. Please read ch3 first, just in case :’)

So this is that UTRH/Court of Owls mashup fic I mentioned a while back! The premise I wanted to do was basically ‘What if the Court caught wind of Robin!Jason being led into a trap by the Joker & saw a chance to get a new Talon’. Combine this with a little of ‘what if Bruce never found Jason’s body but still presumed him dead bc of the explosion and copious amounts of blood at the scene etc (even though he secretly keeps looking for him still) à la Arkham Knight’ and voilà, here we are.

Considering the fact this fic’s setting is contemporary, I actually imagine Joker would’ve recorded video evidence of him beating up Jason to taunt Batman with too... Hmm, maybe I should re-label this a UTRH/CoO/Arkham Knight mashup instead...

Did I mention that if you’re here for romance, you better strap in for the long haul? Because this is gonna take a while, alright

Prologue

Can you tell I like being poetic? Or that I enjoy parallel & contrasting sentence structures?

first & last paragraphs (the ’beginning’ & ‘end’) include ‘a boy’ & ‘a bat’

‘how the story goes’ vs the later ‘NOT how this story goes’

second & second-to-last paragraphs both start with ‘you see’

3rd & 4th paragraph start with ‘maybe’

the structural halfway point is between the 3rd & 4th paragraph, so between ‘an end (death)’ & ‘a start (resurrection)’

in those same paragraphs: ‘in flame and fire with ice building in his gut’ versus ‘in liquid and ice with fire running through his veins’

Yes, the prologue is from Jason’s POV through his death and resurrection

Chapter 1

The working title for this chapter was ‘Something In The Water (...it’s bodies)’ though I changed the location the body was found in the end.

That stream of consciousness that serves as the intro paragraph(s) is supposed to reflect the opening narration of the Court of Owls storyline, wherein Bruce muses over the Gotham Gazette's 'Gotham is...' column.

Also let me tell you I knew from the start I wanted to do a UTRH retelling but with Talons, and I still somehow forgot Dick’s leg was in a brace during the original UTRH story until I went back to fact-check.

[announcer voice] All names of the victims/CoO members are purely made up, canon can bite me because I don’t care much for the turn the CoO story took after a while but that’s a rant for another day

‘Dick is getting precariously close to the end of his rope’, get it?? foreshadowing that the victim was gonna be found hung up under the bridge? eh?? I like to think I’m funny when I’m not

Chapter 2

I re-wrote this entire chapter from scratch (except for the last 'night’) because I hated the first draft so much

Guys, I love Babs-as-Oracle. Dunno if I can do her justice, but please know I love her.

I don’t think this detail matters if you don’t know much about comics canon: Tim and Cass did stay in Blüdhaven for a while in the past, but they’re mostly back in Gotham now. They still have a hideout in the Blüd and drop by to visit Dick/avoid Bruce every so often, and Cass also spends a lot of time with Babs (& Steph, again, I’ll mention her at some point. so many characters to juggle, christ. I’m gonna level with y’all, I just do NOT want to deal with the War Games storyline in this fic, so don’t expect me to reference it)

Talon did, in fact, use a crude version of Batman’s grapple hooks to get the body up on the bridge. Why display it in the first place? See ch3: as a provocation to both Batman and Nightwing in specific, because Jason is a dramatic lil’ shit no matter what universe you put him in

The Talons in canon seem to have more weapons that fit their fighting style, but I went for the combination of grappling line + (throwing) knives for now because Jason actually does use a knife in UTRH. I might make him use guns, at some point, but for now it’ll be the usual improvised bat-gadgets like flashbangs, smoke bombs etc, plus knives

And thus starts our story of Talon messing with Dick

Chapter 3

The ‘Such Terrible Hungers’ chapter title is taken from the same poem as the main story title (’No Shadow Falls’), namely, Louise Erdrich’s “The King of Owls”. For obvious reasons.

This chapter, I re-wrote about fifteen times. I wanted to cry in frustration.

Anyway, yay, more Jason POV! (in my weird quasi-poetic format)

[insert obligated identity crisis because he was forced into a role he never wanted but it’s now useful to his cause]

Points I want to single out:

Whenever I use text in italics+brackets, it’s some form of unbidden thought coming to Jason’s mind

Drinking game: spot the references to how Bruce failed to find Jason/the Owls (”a detective who cannot find what he is looking for“) or how nobody seems to want Jason bc he’s Jason, they just want him as a substitute for Dick

This is also why Talon doesn't want to be caught, he wants to be found. Small but significant difference

There’s an underlying theme of ‘stories’ in my quasi-poetic chapters, so I really wanted to incorporate the classic ‘Once upon a time, there was...’ ‘One day, ...’ structure of fairy tales/bedtime stories. Lest we forget the CoO also had a nursery rhyme dedicated to them

“Talon never spilled his secrets but oh, how the Owls would have laughed if they had known.”  >>>> the Owls ovbs interrogated ‘Robin’ (Jason) while he was in captivity, but they didn’t get much info from him. I’ll mention the details in some later chapter!

Yes, I do the ‘Night-Wing’ ‘Gray-Son’ spelling thing on purpose to show that Jason’s mind isn’t all alright at this point

The switching between ‘the Gray Son’ & ‘Gray-Son’ is also on purpose to show the cracks in Jason’s conditioning/the Owls’ failure to brainwash him fully

I try to keep most of Jason’s core characteristics intact - his focus on victims + helping them, his disdain of Batman’s methods - but I’m going to have to change some bits to fit the Talon narrative I think. We’ll see how it works out...

That being said, he’s mostly gonna be messing with Dick because he’s petty and bitter, but it turns out to be more fun than he thought it would be. After all, our boy severly lacks human interaction & Dick is a relatively expressive person (the polar oposite of the Owls’ haughty/better-than-thou/distant demeanor & even Batman’s carefully controlled reactions)

Bonus scrapped story element: at one point I had the idea to have Talon be as good as mute because of a particularly brutal blow (from the crowbar) injuring his throat/vocal chords. I couldn’t think of a way to incorporate it on top of everything else though, so that remains an idea for another time...

(Seriously though, Jason and Cass silently bonding over speech issues, sign me up. Especially bc Jason loves literature and Cass is into theater it seems, you can do so much with that)

[aion-rsa]

How a Batman 1989 Deleted Scene Cost Sean Young the Co-Starring Role

https://ift.tt/3tLKA4I

1989’s Batman is widely regarded as a time-tested, transformative entry for the comic book movie genre, and its $411.5 million worldwide gross ($872.8 million adjusted for inflation,) certainly shook an unsuspecting film industry to its core. However, for actress Sean Young, who was initially set to co-star in the film as Vicki Vale opposite Michael Keaton’s Caped Crusader, it represents a point in which misfortune pulled her away from a prospective mainstream breakthrough. Indeed, not only did a pre-production accident force her off the film, but the scene for which she was preparing ended up getting cut from the movie!

Director Tim Burton’s choice of Sean Young for Batman’s leading lady role, photojournalist Vicky Vale, seemed auspicious, since it brought the genre experiment a rising star with pertinent gravitas from roles in then-recent offering like Blade Runner and Dune, along with dramas like No Way Out and Wall Street. It was a positive outlier against the buildup from the film’s 1988 production, during which it was preemptively savaged by fans and critics over Burton’s selection of comedic character actor Michael Keaton—fresh from starring in Burton’s 1988 hit, Beetlejuice —as opposed to a conventionally imposing action movie star. However, a fateful accident would see blonde bombshell Kim Basinger take the role of Vicki, depriving Young of the film’s defiant, industry-altering success.

Amongst a normal number of revised permutations, the Batman script, written by Sam Hamm and Warren Skaaren, once had equestrian leanings—initially involving Vicki—designed to build toward a major action sequence. Consequently, in a setback that now resides in the realm of comic book movie legend, Young, who had been in London for four weeks of read-throughs and rehearsals for Batman’s imminent production in Pinewood Studios, was practicing her horse-riding skills when she was thrown off and sustained a fractured arm. That led producer Jon Peters—who had purportedly convinced Burton to cast Keaton—to suggest that the incapacitated Young be replaced with Kim Basinger, as cameras were set to roll in a week. The suggestion was immediately accepted, resulting in the replacement being quickly flown in, costing Young what was to be the biggest role of her career.

“They did spring the horse-riding thing on me, and I fell and had an accident,” explains Young in a recent interview with The Daily Beast. “Could they have kept me on the show and shot around my arm? They probably could have. I think [producer] Jon Peters had this hard-on for Kim Basinger, and he saw an opportunity to exit me, and he did. And no one ended up being very happy with that choice. But it is what it is. I had an accident and then got walked to the door.”

Warner Bros.

The scene in question was the intended start of Bruce Wayne and Vicki Vale’s first date, set at Wayne Manor. While the final cut started the date inside the dreary, echoey estate, the date would have instead started outside, at the horse stables. There, we briefly see the two riding horses—with Vicki coming across as the more experienced rider—before they dismount and kick off their flirtations. In an example of intended foreshadowing, Bruce says, furtively alluding to his secret crimefighting exploits, “Horses love me. I keep falling off. Maybe that’s why they love me. You should see me, I’m one big mass of bruises.” At that point, they walk off to a patio on which Alfred (Michael Gough) awaits them with a bottle of champagne,” at which point their date continues inside. Indeed, it’s a minor scene, and, as we were meant to see later in the film, Vicki’s horseback riding was merely a plot device designed to set Bruce on an arc for his own horseback action sequence; an aspect that lends Young’s role-costing accident a cruel element of irony.

The eventual payoff to the stable scene would have manifested after a scene that did make the film (at least partially), in which Bruce visits Vicki in her apartment, hemming and hawing as he tries to muster up the courage to reveal to her that he’s Batman. Of course, the Joker (Jack Nicholson)—enamored with Vicki—then interrupts at the door, resulting in a confrontation with Bruce that ends with Joker—after dropping the crucial clue of the “You ever danced with the devil in the pale moonlight?” line—shooting Bruce with a pistol, leaving Joker convinced that he killed him before leaving Vicki with an offer to consider. As we saw in the movie, Bruce secretly lined his shirt with a bullet-stopping metal tray, and pulled a Batman-esque disappearing act on Vicki after Joker departed. However, this scene was initially designed to kick off an elaborate chase sequence.

Read more

Movies

Batman 1989: The Long Journey and Enduring Legacy of a Superhero Classic

By David Crow

Movies

Michael Keaton is Not Becoming the Default DCEU Batman

By David Crow

In a major contrast from Batman’s onscreen form, early drafts of the script’s apartment scene had the Joker kidnapping Vicki after he revealed the suicide of girlfriend Alicia (Jerry Hall), and smashed the porcelain mask that covered her acid scars. Indeed, the famous, “You can’t make an omelet without breaking a few eggs” line was to be followed by a dramatic cut, after which we see that Vicki was taken by the Joker and his men in their convoy of purple vehicles. At this point, Bruce arrives on the scene to find a mounted policeman in bad shape, sporting a familiar unnatural grin delivered by Smilex gas. Thus, without any other vehicle nearby, Bruce commandeers the cop’s horse and proceeds to chase down the Joker’s convoy. As the chase through Gotham starts to prove fruitless, a red symbol light flashes on Bruce’s belt, at which point a Volkswagen Bug—conspicuously going 70 mph—closes in on him, revealing the driver to be Alfred, who arrives bearing a bundle of fresh Batman attire, resulting a quick pit-stop before the rescue commences. It’s a major divergence from the film itself, in which Vicki wasn’t taken by the Joker at all, save for the climactic scene atop Gotham Cathedral.

“Falling off that horse was something kind of—I couldn’t hang on. There’s kind of a poetic symbolism about that,” lamented Young back in 2005 DVD documentary Shadows of The Bat: The Cinematic Saga of The Dark Knight. “In a way, I look back at that particular time in my life and I go, ‘Wow, I wish I’d been able to hang onto that horse. I wish I’d been able to do that.’ Because then the turning point in my particular career—I would have been able to stay on the film, I would have been in a big box office hit, I would have been able to go on to other big box office hits. That kind of domino effect would have occurred in my career. That was the turning point in my career where that didn’t happen.”

DC Comics

The horseback scenes, while ultimately cut, weren’t as excessive as they seem in retrospect. That’s because it was always clear that Burton’s version of Batman was to reflect the darker elements that came into prominence with Frank Miller’s groundbreaking, profoundly influential 1986 DC Comics miniseries The Dark Knight Returns. By no coincidence, that comic story contains a scene in which Batman rides a horse off into battle; an element of the story that created iconic imagery. Thus, it was merely a reflection of the revolutionary influences—divorcing Batman from the comical stereotype from the 1960s Adam West TV series—that helped form the film. Additionally, one draft even used this sequence as the vehicle to set up the origin story of Robin.

Yet, the saga of Sean Young and Batman continued in the public sphere—sans horses. As the sequel that would eventually become 1992’s Batman Returns had just cast Michelle Pfeiffer for the key role of Selina Kyle/Catwoman, Young felt slighted for not having been given the chance to audition for the part. It’s an understandable feeling, given the way she was unceremoniously recast, which belied any serious volition for her to field the part, since they could have possibly shot around her broken arm during the production’s initial months. Consequently, Young started what became a very public campaign to be cast as Catwoman. This culminated in a 1991 appearance on The Joan Rivers Show (seen just below), in which Young showed up in a homemade Catwoman getup and—through a sultry performance of the character evocative of Eartha Kitt—took Tim Burton to task on his apparent reluctance to even meet with Young in any capacity.

“Even if he wasn’t even going to use me in the sequel, I can’t understand why he wouldn’t at least see me. He wouldn’t see me,” exclaimed Young—at this point out of character—to the late talk show host, who then brought up the rumor that Burton thought the Walkie-talkie Young liked to carry during those days was a gun. “How would I know what he thinks,” Young responded. “He wouldn’t see me, he ducked me, he ran. And then later on, my agent told me that he was going to hire a bodyguard because I was like a dangerous lethal person.”

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Nevertheless, Batman‘s nixed horseback scenes ultimately proved to be a major undoing for Sean Young. Her status as a rising headliner evaporated after that tumble. She would subsequently suffer from, as she now alleges, being blackballed by prominent Hollywood figures such as Steven Spielberg, Warren Beatty and, yes, Tim Burton. In fact her most prominent post-80s movie was the co-starring (twist-touting) role in 1994’s Ace Ventura: Pet Detective, which Young says she only landed because star Jim Carrey advocated on her behalf in spite of studio Morgan Creek. Yet, Young has always worked steadily, and was recently seen in director Tracy Wren’s 2020 drama, Rain Beau’s End, with multiple movies still on her backlog. So, don’t discount the prospect of a potential Sean Young-issance just yet.

The post How a Batman 1989 Deleted Scene Cost Sean Young the Co-Starring Role appeared first on Den of Geek.

from Den of Geek https://ift.tt/3vWGuIP

[newstfionline]

California communities scramble to avoid becoming the next wildfire tragedy

By Tim Craig, NY Times, December 12, 2018

NEVADA CITY, Calif.--The deadliest wildfire in California history was blazing far away from here, about 75 miles north in the town of Paradise, but Mark Cooper and Galen Ellis saw danger just outside of their window.

The couple’s beige three-bedroom house blends beautifully with their wooded lot. But the next time a wind-swept firestorm erupts here in the Sierra Nevada Mountain foothills, they fear those cedar and ponderosa pine trees could become a flaming 20-story cage.

“We are now at the point of wondering: Do the risks now outweigh the costs of owning a home?” said Ellis, who is 57 and nearing retirement. “A lot of people here are thinking, ‘It wasn’t me this year, but it could be next year.’”

With their homeowners’ insurance set to triple, Cooper and Ellis are seriously considering leaving town, a window into the jaw-clenching fear now gripping this rustic mountain region

as residents worry that the death and destruction in Paradise foreshadows their own futures.

“This whole thing of being able to outrun fire, or defend against fire, it really doesn’t seem to apply anymore,” said Diana Cobbe, 62, who also lives in Nevada City, one of 188 California communities designated for extreme wildfire danger. “You now kind of feel like you are living under a time bomb.”

With Cobbe and other panicked residents jamming into community and fire safety meetings seeking answers, officials throughout California have been rushing to fortify vulnerable communities even as they acknowledge it’s a battle they might not be able to win.

That’s especially true here in Nevada County, which has similar topographic features to Paradise, where at least 85 people were killed and 19,000 structures were destroyed by the Camp Fire last month.

“We have had a lot of conversations about what the potential is, and how can we stop these in totality,” said Pete Muñoa, chief of the Land Use Planning Program division at the California Department of Forestry and Fire Protection (Cal Fire), which oversees state fire suppression and prevention. “You have to look at building construction; you have got to look at where people are living.”

Although the debate is still in early stages, Muñoa said lawmakers and regulators might consider new rules for vegetation management as well as broader revisions to building codes and development plans. State and local officials also plan to modify evacuation plans, a recognition that there are too many people living in wooded areas near too few highways.

Earlier this year, state legislators granted $200 million to Cal Fire to expedite vegetation removal and other fire prevention measures, while electric utility PG&E is expanding efforts to cut down trees near power lines.

But State Senator Bill Dodd (D), who helped push for these changes, said the problem is bigger than any quick fix.

“Let’s face it, we don’t have a lot of short-term solutions in our tool bag,” Dodd said, adding that federal and state government share blame for not being more proactive.

Even before the wildfire destroyed Paradise, Cal Fire was sounding the alarm. In its 2018 strategic plan released in August, Cal Fire noted the average size of a wildfire in the state had grown to more than 14,000 acres, compared to less than 8,000 acres 20 years ago. The report cited climate change as a contributing factor.

Then on Nov. 8, driven by fierce westerly winds, the Camp Fire advanced quickly into Paradise and surrounding communities--at times burning an area the equivalent of a football field per second. Many evacuees spent hours stuck in traffic as flames brushed their vehicles.

About 1,300 California communities, accounting for 3 million housing units, have been classified as vulnerable to major damage from a wildfire. In Nevada County, where 100,000 residents are spread over 900 square miles, about three-fourths of the land area falls in the “very high” risk classification.

Even the county’s more urbanized areas are considered at extreme risk. Separated by about 10 miles, Nevada City and Grass Valley were founded around 1850 by miners who flocked to the region during the gold rush. Today, they include vibrant downtowns that intersperse the region’s mining heritage with new-money wine shops and clothing stores catering to young professionals and retirees from wealthy California coastal cities.

Fire is ingrained in the cities’ histories. The commercial centers of both burned shortly after their founding, and the “Forty-Niner” wildfire in 1988 destroyed 312 structures in the western part of the county.

But the loss of life in Paradise has touched Nevada County “in ways that even its own fires did not do,” said Robin Davies, the chief executive of the Grass Valley Chamber of Commerce.

“We just watched a very similar community, an entire city, go up in flames, and it’s a reminder that if something like that were to happen again, we would all be at risk,” Davies said.

John Gulserian, manager of Nevada County’s Office of Emergency Services, is especially aware of the dangers facing county residents. Before he took over as the head of emergency preparedness here, Gulserian held a similar title in Butte County. He still owns a house in Paradise, in which his 26-year-old daughter, Kindra, was living when the Camp Fire erupted.

Gulserian has been thinking about how he can better prepare Nevada County for a similar tragedy.

Officials need to update evacuation plans, expand fire breaks around populated areas and better-educate residents about the danger, he said.

California’s fire code already mandates that newly built homes near wildland areas are built with fireproof roofs, windows and decks and requires homeowners to clear flammable materials within 100 feet of their homes. But Gulserian is pushing to update state law to make it easier for government officials to access private land when owners refuse to maintain their property.

In some especially vulnerable communities, Gulserian would like to see reflective signs directing motorists to evacuation routes.

Some of the proposed changes won’t be easy. Many Nevada County homeowners, Gulserian said, are especially hesitant to cut trees.

“We’ve got a lot of folks moving in from the [San Francisco] Bay Area, and they love their trees, but we are killing ourselves loving the trees,” said Gulserian, adding that some properties contain “hundreds of trees per acre” when a maximum of 40 to 50 per acre is considered ideal to reduce the rapid spread of a fire.

Still, Gulserian knows that even the most diligent planning may not be enough to save lives when 50 mph winds are pushing flames through parched forests.

“If you are evacuating everyone at the same time, you would need a six-lane freeway going through town just to get everyone out,” Gulserian said. Officials in Paradise determined they would have had to start evacuations two hours before the fire began to get all 26,000 residents to safety before it swept into town, he said.

This fall, even before the Camp Fire, several homeowners insurance companies started notifying clients that they were no longer offering fire insurance in the area. Others have drastically hiked premiums.

Ellis, for example, learned this month that her fire insurance premium will increase from $849 to $2,674 per year, after AAA dropped her existing coverage.

They’re considering selling their home and living out of their Mercedes van and pop-up trailer.

“If people want to move here, I wouldn’t recommend it,” said Cooper, who has lived in Nevada County since he was 12 years old. “Or if you do, with this fire danger, you might as well just assume one day you will come home and it won’t be there.”

Despite that sentiment, local officials are not anticipating a significant drop in demand for houses. In fact, they say, the county’s population might increase as residents displaced in Paradise seek out housing.

Earlier this year, the Journal of Environmental Economics and Management published a study of housing transactions following wildfires in Colorado between 2000 and 2012, concluding that major fires only temporarily weaken housing markets in wildland areas.

“After a year or so has passed when incoming buyers come in and they see two houses--one in a risky area and the other not--they bid on the houses the same as they would before the fire,” said one of the authors, Shawn J. McCoy, an economics professor at the University of Nevada, Las Vegas.

For now, however, the local discussion about the wildfire danger is grim.

In the Cascade Shores, a wooded development that surrounds a large reservoir, residents say they have only two roads to escape the mountain should a fire threaten the community.

“I now have people coming to me asking, ‘If I get trapped, can I come down here and jump in the lake?’” said Gary Doshier, 43, who manages access to the boat launch at Scotts Flatt Reservoir.

[forgetmenotblues]

52 in 52

So last year I tried to read 52 books in 52 weeks (aka a year, if you're nasty), and because I was a shiftless philosophy student, I managed and then some.

Here are the books I've read, with some thoughts on them, for posterity, or recommendations

1) Sandman Overture, Neil Gaiman

Pretty solid, usually I hate prequels, but sandman was always pretty meandering and non-linear, so it works well. Just annoying it doesn't fit in with my pretty leatherbound absolute editions

2) Radioactive: love and fallout, Lauren Redniss

Very cool artsy biography of Marie Curie, and glows in the dark!

3) XKCD What if?

Extremely fun science, makes some abstract concepts approachable, I mean it's Randall Munroe, it's solid

4) Rise to Rebellion, Jeff Shaara

Historical novel (gonna be a few of these, I'm dead into them) about the build up to the American revolution . Kinda dry for a lot of it, but can ratchet the tension up, taught me lots I didn't know, and there's a bit towards the end where John Adams' wife calls him out on his privilege and it's pretty rad

5) Dune, Frank Herbert

I hate myself for saying this, but I was expecting it to be a bit more... dry. But seriously, everything described it as complex philosophy and politics, ASOIAF in space, and then it was a pretty straightforward adventure. The dynastic politics boiled down to a family of cool beautiful good guys vs an evil family of "hilariously" fat perverts. It was a great read, but more Laurence of Arabia than anything else

6) Squirrel girl, Ryan North 

Fantastic, fun, brilliantly written - it's Ryan North, nuff said.

7) Virgil, Steve Orlando

A cool, dark, "queersploitation" comic. Your basic "beaten and left for dead, wreaks vengeance" type story, brutal, but honestly pretty cathartic

8) the house that groaned, karrie fransman

A comic about a bunch of dysfunctional people. I didn't care for it, it was a lot of kinda shallow Freudian psychology and slightly tim burton esque "quirky" characters. It was kinda like the A Dolls House arc of Sandman, but... not good

9) The Last Continent, Terry Pratchett

Discworld is always fantastic, and I've got a real fondness for the classic travelogue style rincewind ones.

10) Night Thoughts of a Classical Physicist, Russel McCormmach

The story of a German physicist who's dedicated his whole life to ether model physics and is realising his life's work is being disproved by recent advances... so a barrel of laughs. All about mortality, the fear of obsolescence, nationalism, and academia.

11) The Property, Rutu Modan

Indie comic about a girl learning about her family's heritage in Europe, lots of post war stuff and exploring "the old country". Very good

12) The Wake, Paul Kingsnorth

This was one of the real wins of this year, a story about the Norman occupation of Anglo Saxon England after 1066, and resistance thereof. Written in a conlang made to simulate old english, it seems totally unreadable, but you pick it up, and it makes the story infinitely more engrossing. A cool setting plus a whole other language wouldbe enough, but kingsnorth goes one further and makes it a savage deconstruction of nationalism and a beautifully painful exploration of tropes these sorts of books tend to embrace. Can't recommend enough.

13) Adventures of Hergé, Jean-luc Fromental

Biography of hergé written in the style of a tintin comic, a lot of fun

14) Carpé Jugulum, Terry Pratchett

Another Discworld, another classic. A lot of fun stuff with vampire tropes, although also a pretty serious discussion of "all evil comes from utilitarianism", which I felt didn't entirely fit, and I disagreed with. But again, the biggest criticism I've ever had of a Pratchett book is "his intelligent discussion of philosophy felt a little out of place", so not the end of the world

15) Fifth Elephant, Terry Pratchett

I went on a bit of a discworld binge here, another great one

16) Half a King, Joe Abercrombie

Great deconstructive low fantasy  novel, one of the many ASOIAF-esque books out there, and one of the few I've really enjoyed

17) Batman and Robin Eternal, D.C. Comics

Fun story about the batfamily, one of the rare bat-titles to really say "hey maybe this should be fun, you guys?"

18) Magical Game Time, Zac Gorman

Brilliant comics about video games, capture the real magic and freedom you found in games when you're a kid, the epic narratives you'd weave out of very simple Zelda games on the NES. makes me happy on a fundamental level. A lot of its available as webcomics, look it up, you won't regret it

19) The Truth, Terry Pratchett

Another brilliant Discworld book. Not much to say as there's a lot of these another all just consistently amongst the best books ever.

20) Wonder Woman Earth 1, Grant Morrison

Grant Morrison's always got a gift for finding the heart of a character, and he doesn't disappoint here. A lot of weird analysis of wonder woman as a feminist character, but he handles it pretty well overall.

21) & 22) Half the World, and Half a War, Joe Abercrombie

Parts 2 and 3 of the series, stays brilliant. Abercrombie is apparently best known for more adult stuff and this is more YA, but if anything that refines his writing - stops him being another grimdark game of thrones wannabe, and keeps it slightly more reconstructive and intelligent. Brilliant use of characters, the hero of the first book ends up almost the villain of the last, and all for entirely understandable reasons.

23) Machine of Death, various authors

A short story collection about a high concept: a simple blood test can tell you your cause of Death, but not the time or any specifics. A brilliant idea is explored in a lot of clever, beautiful, and hilarious ways.

24) The Last Hero, Terry Pratchett

Another brilliant Discworld, acting as a bridge between the classic fantasy of the older books, and the renaissance era politics and science of the later books - v poignant

25, 26, & 27) Harlequin, Vagabond, Heretic, Bernard Cornwell

Historical novels about the battle of creçy and the start of the 100 years war. Cornwells always good, although honestly these aren't his best. Pretty cool comparison between the chivalry of grain quests, and the reality of medieval warfare.

28) Long Halloween, Jeph Loeb

A classic batman, the story they based Dark Knight on, with a cool transition from down to earth organised crime of Year One to the zany madness of later batman

29) Little Brother, Cory Doctorow

A novel about post-911 culture, and counter culture rebellions against it. Fantastic novel, available as creative commons, so you can get it for free, so no excuses not to read! Very inspiring in that fuck Bush and fuck this war aesthetic, and Ihve a feeling it's gonna get real relevant in the coming years

30) Enders Game, Orson Scott Card

Pretty fantastic sci fi, analyses the psychological impacts of chosen one children saving the world, and the ethics of a "all the enemy are evil aliens" narrative. Obviously all this ethicality is a bit hypocritical from Orson Scott homophobia, so buy it second hand?

31) Black Guard, AJ Smith

Pretty cool fantasy, another faux ASOIAF type one, fairly straightforward, but plenty enjoyable

32) Deadpool vs Hawkeye

Pretty fun comic, read it on a plane back from Costa Rica, so I dont super remember it? But I enjoyed  

33) The Sleeper and the Spindle, Neil Gaiman

Very cool twisted fairy tale type thing, Neil Gaiman's always good, and beautiful Chris Riddel illustrations on top

34) Dial H for Hero, China Miéville

Great comic series, takes a simple idea (guy finds magic phone, when he dials it, he becomes a randomised superhero) and explores it in every possible way, becoming a full blown epic. Plus a scene where he becomes old timey racist heroes from the 60's and has to balance the good of doing superheroics vs the offensiveness of going out as "super chief" or whoever

35) Ravenspur, Conn Iggulden

Historical novel about the war of the roses. Iggulden is always very good, makes extremely readable stuff, and his war of the roses series is fantastic, a complex story made into an awesome action story. However, this last book isn't his best, it spends about 2/3rds of the book on a 6 month period where not much happens, then blazes through 10 years of action in no time at all, the pacing just felt a bit off. Still very good.

36) Howard the Duck, Chip Zdarsky

Very readable, very fun, very witty

37) Stonehenge, Bernard Cornwell

Historical novel about the building of Stonehenge, this is cornwell at his best, at border of very well researched intelligent history and the slightest hint of fantasy, making a brilliant story that brings history to life.

38) Black Orchid, Neil Gaiman

Slightly deconstructive superhero story, reads very much like a companion piece to Alan Moore's brilliant Swamp Thing

39) The Hartlepool Monkey, Wilfrid Lupano

Historical comic about a northern English town that hanged a shipwrecked monkey as a Napoleonic spy. A brutal read, exploring idiotic nationalism, well recommended

40) Turned Out Nice Again, Richard Mabry

Cute non-fiction musings on the meanings of weather and it's effects on our day to day life

41) The Heroes, Joe Abercrombie

Another deconstructive low fantasy, this time part of his adult series, which actually kind of works against it. Without the lighter edge, it can be a little bit of a downer. Nonetheless, well written, solid characterisation, and an excellent take-down of fantasy's belief in the glorious nature of war.

42) Thief of Time, Terry Pratchett

Another fantastic Discworld, fun, funny, and clever

43, 44, 45, 46, 47) A Game of Thrones, A Clash of Kings, A Storm of Swords, A Feast for Crows, A Dance with Dragons

Reread all of ASOIAF, absolutely fantastic, better on a second read. The first 3 are great as last time, plus all the foreshadowing that now makes sense. And 4&5, which I felt bit more ambivalent about the first time round, I've since read various analyses of (check out @asoiafuniversity), and I'd now consider them some of the best books I've ever read.

48) Gettysburg Address, Jonathon Hennessey

Absolutely brilliant comic, dissecting the Gettysburg address, using each line of it as a jumping off point to explore the history and philosophy of the civil war, incredibly high recommendation

49) Lazarus, Greg Rucka

A fantastic sci fi comic series, brilliant writing and characters, rucka is always great, and this is some of his best

50) Night Watch, Terry Pratchett

Another Discworld, but this one is even better than usual, this is one of the ones that stand out as serious business, much less comedic and much more epic than usual

51) A Brief History of Vice, Robert Evans

Hilarious and informative book from a cracked.com writer about use of drugs and alcohol through history, with recipes and recommendations for legal highs and drink recipes

52) Just City, Jo Walton

Sci fi / fantasy /philosophical novel, where great thinkers from throughout history are brought together to build Plato's perfect city. All about the clash between high ideals and practical reality. Very enjoyable, the sort of book where action scenes are philosophical debates.

53) Goldie Vance, Hope Larson

Fun cool progressive detective comic

54) Temeraire, Naomi Novak

A really fun fantasy novel with a concept that seems so simple, you don't know how no one's done it before. Essentially it's just the classical trope of dragon riders, but updated from pseudo medieval to the Napoleonic era, with all  associated tall ships and iron men and officer and a gentleman tropes

[aion-rsa]

How Batman Forever Got Robin Right

https://ift.tt/2UR75Gg

A quarter century after its release, Batman Forever remains perhaps the most divisive of the Caped Crusader’s 10 big-screen appearances to date. It is certainly the fulcrum on which the entire history of the series balances: the point where the franchise changed course in pursuit of instant gratification and success, only to pave the way for abject failure and supreme rebirth.

The back story of Batman Forever has been well documented before, so here it is in brief in case you were napping: following the less than stellar box office returns of Tim Burton’s 1992 Batman Returns — a Gothic fever dream which frightened not just children but Warner Bros. Pictures’ corporate partners like McDonald’s — the studio brain trust decided a change was in order.

Burton would not be back to direct a third Batfilm; that task was bequeathed to Joel Schumacher, who was mandated to bring a lighter, more playful vibe to the proceedings. Schumacher’s stated goal was to make a “living comic book,” but he seemed to conflate the Batman comic books — which had grown in sophistication over the decades — with the Batman 1960s TV series, a deliberate campfest that, while fun in its own way, was the dominant image that entire generations had of the Bat.

“I didn’t want to look at what Tim did and try to be different,” said Schumacher at the time to Daily Variety. “I wanted to do my own thing.”

Schumacher went all in on creating what was essentially a big-screen version of the Adam West series (arguably combined with elements of the comics from the 1940s and 1950s). It was nearly a 180-degree shift from the darker, more subversive trappings of the two Burton films that had come before. Batman Forever was maligned by fans who felt that the Burton movies had finally gotten the character out from underneath the massive shadow of the TV series. But the movie did not pretend to be what it wasn’t, and it did have its positive aspects.

For one — and we’ve argued this before — the screenplay by Lee and Janet Scott Batchler and Akiva Goldsman is easily the best of the four films made between 1989 and 1997. What the Burton films possessed in style and imagery, they lacked in narrative cohesion or story structure. Batman Forever was a different animal: establishing one villain right in the opening sequence, it did away with too many tedious origin stories and left room for a better fleshed out story and arcs for the rest of the characters, cartoon-like as they might have been.

Val Kilmer, replacing Michael Keaton after two films, was a potentially strong Batman, more dynamic and central to the story than the character had been in the Burton films. Brooding less over the death of his parents, he still brought gravitas and presence to the role. While Tommy Lee Jones and Jim Carrey didn’t just chew the scenery but swallowed it whole as Two-Face and the Riddler respectively, both were given motivations and plans that were not too far off from their comic book counterparts.

Yet Batman Forever’s greatest strength — and the source of some of the movie’s best beats — is the way it handles the origin story of Robin, a.k.a. Dick Grayson, played by Chris O’Donnell.

The introduction of Robin into the movie franchise had been hotly debated since the development of the first film. According to Bruce Scivally’s Billion Dollar Batman, early scripts for what eventually became the 1989 movie Batman featured Dick Grayson to varying degrees, with all of them having the young acrobat taken in by Bruce Wayne late in the story, after his trapeze artist parents are murdered by the Joker.

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Although DC Comics and Warner Bros. Pictures had initially mandated that Dick/Robin be included in the movie, Tim Burton and screenwriter Warren Skaaren wrote him out while working on the script in 1988. “Ultimately it was too much psychology to throw into one movie,” Burton told Rolling Stone in 1989. “If there’s another movie, Robin would have to be established at the beginning, not to be crammed into the third act.”

That became an issue in the sequel, Batman Returns, as well, where initial drafts of the script reinvented Robin first as a feral child living under the streets of Gotham City and then as a young black mechanic who helps the Dark Knight get out of a jam when the superhero crashes the Batmobile into his garage. The latter version of the character was even cast, with Marlon Wayans getting the nod before the part was again written out of the movie.

“I got my wardrobe fitted and everything, and what happened was that there were too many characters, and they felt Robin wouldn’t be of service,” Wayans told The A.V. Club. “So they put me in the third one, and when the third one came around, they got a new director on it and their vision of the project changed. They decided they wanted somebody white to play Robin.”

There were more problems with the character of Robin than just how to fit him into already crowded movies. With the emphasis in the Burton films on a darker version of Batman, both the filmmakers and the studio couldn’t get past the campy look and tone of Robin established by Burt Ward in the TV show. “We would lift our arms up and say, ‘Let’s have them both go to Frederick’s of Hollywood to pick out that little green costume,’” joked Tim Burton to Starlog about his attempts to give the character a redesign.

Even DC was struggling with how to handle Robin after the success of both the first Batman and Frank Miller’s classic The Dark Knight Returns graphic novel, with the books now on a mission to prove they were as “mature” as Miller’s gritty reinterpretation. With Dick Grayson off on his own as Nightwing, that led to the death of the second Robin, Jason Todd, in the comics, as fans voted by a slim margin to kill him off in a nationwide poll. The third Robin, Tim Drake, got a new costume, dispensing with the bare legs and little green shorts for a look that would foreshadow the movie version.

When it came time to make Batman Forever, it was determined that Robin’s moment to step forward had come. “Dick Grayson’s story is much more interesting than I’d ever seen it portrayed,” Schumacher told the New York Times about the character’s debut in his movie. “Because of the TV series, he was seen as this kind of asexual, cartoony, wholesome airhead.”

The movie retells Robin’s back story almost directly from the comics, with some modifications. Dick himself is somewhat older than he was first presented on the page, probably around 17, and he’s got some attitude as well as a fondness for motorcycles. His family is a troupe of acrobats who are killed during a raid on their circus by Two-Face, with Dick heroically disposing of a bomb while his parents and older brother die below — leaving him an orphan in a mirror scenario of what happened to Bruce Wayne.

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Dick is dropped off at stately Wayne Manor after Bruce says he’ll take the kid in, and the conflict between the two is immediately apparent and neatly set up: Dick understandably wants vengeance on Two-Face, while Bruce recognizes their common link and knows that revenge will only lead to more grief for the sole surviving Grayson. When Dick discovers the existence of the Batcave under the mansion, their already tense relationship is strained to the breaking point.

Dick wants to partner with Bruce/Batman, seeing a role with the Caped Crusader as both a way to track down and kill Two-Face while simultaneously giving himself a new direction in life. Bruce can only see the loneliness and danger of the life he leads, and doesn’t want his young charge to follow him down that same path. He’s even willing to quit being Batman (for a few scenes anyway) to prevent Dick from utilizing the resources of the Bat on his own.

The scenes in which Bruce and Dick face off — with Alfred (the always great Michael Gough, returning from the Burton films) as sly referee — are the finest in Batman Forever and some of the best in all four Burton/Schumacher films. For one thing, they feel like the comics without being overly campy, and they effectively move the relationship between Bruce and Dick forward — the only time, in fact, that any relationship involving Bruce Wayne in any of the four films feels somewhat real and not just tacked on.

Their battle of wills comes to a head after Dick saves Batman’s life during an assault by Two-Face, proving not just his courage but his natural heroic abilities. And yet Bruce refuses to budge, until an even more deadly invasion of Wayne Manor and the destruction of the Batcave forces Bruce’s hand. He must don the cowl again, and this time Dick, with some accoutrements provided by Alfred, is ready to assist — and Bruce is ready to accept his help. The shot of Batman and the newly christened Robin shaking hands and sealing their partnership is one of the few in the original four films that feels kind of legendary.

It’s a satisfying payoff in a series that feature few such moments. It gives Kilmer his best scenes in his sole outing as Batman, and it also presents a Robin that retains the character’s underpinnings while giving him a more updated sensibility (that cringeworthy “holy rusted metal, Batman” line aside). Robin’s obsession with Two-Face is also resolved as he elects to save Harvey Dent’s life instead of killing him. The original Robin costume is nicely redesigned and given its proper homage, even as the Boy Wonder gets a sleek, more contemporary outfit (aside, of course, from the wholly unnecessary nipples).

Make no mistake, Batman Forever is no one’s idea of a great film. It’s an intermittently entertaining movie and a take on the Dark Knight that is clearly more of a flashy corporate product after the experimentation of the flawed Burton entries. But if there’s anything from the film that still works 25 years later, it’s the birth of the Dynamic Duo — the only time (at least for now) that we’ve seen the genesis of that iconic partnership play out on the big screen.

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