#very good babs

[lazylittledragon]

pls dad astarion i beg of you

as much as i really want to i don’t know how much sense it makes, so for now let’s just be unserious

[haveihitanerve]

i have this headcanon that Bruce still calls Dick Robin or Boy Wonder when they work together and he still calls Babs Batgirl from time to time because to him they are.

Hearing Dick crack a joke while doing a flip and karate chopping a goon flies him back in time to when it was just the two of them, the Batman and Robin days

When Babs crackles in his comm with information and maybe a quick quipp, thats batgirl in his ear, scolding him for getting hurt

And Dick might not show any outward shift at the name, might not do more than follow the barked order of 'robin on your left!' and babs wont remark the different name, the 'thank you batgirl' instead of oracle, but maybe Dick stands a little straighter, maybe Babs sits up a little, preens

Because to them Bruce isn't this maniac who kidnapped express adopted a bunch of children, he's just bruce. their bruce. their batman. And they are his Batgirl and Robin. His Boy and Girl Wonder.

[violent138]

Out of the Batfam, Jason is one of the most atrocious liars. He can make it work when he absolutely has to, but usually I think whenever he lies he does with little motivation and with emphasis on irony to make it funny for himself. In comparison Dick is a phenomenal liar and can sell outrage so well before hanging up and reverting to normal that Jason sprays him with holy water and never believes a word out of his mouth.

[local-limebug]

jason todd has so many underrated canon love interests. essence, isabel, artemis, and rose are all characters i love with him. like those are good ships. why is everyone ignoring them?

[tisajest]

Reverse Robins AU but the adoption order stays the same

Bruce had been Batman for around 2 decades when he witnessed the Graysons fall. He takes in little 8-year-old Dick Grayson and they become Batman & Robin a couple of months later.

Jason still tried to steal the Batmobile’s tires, but this time Dick is there with Bruce. And Dick immediately goes: friend?! Because who’s cooler than an older boy who has the audacity to steal your dad’s crime-fighting tires? Bruce doesn’t immediately take him in but he does adopt him soon after nonetheless. A year later, Batman gains a new sidekick partner.

Tim still puts together the Bats’ IDs by recognizing Robin’s quadruple somersault. He keeps this info to himself but his father’s death breaks something in him and he becomes reckless and directionless. He’s saved by one of the Bats, maybe little 11 year old Robin, and he just blurts out his name. He tells him how he was at the Graysons’ last show, how he and his parents were such huge fans. Bruce shows up but it’s too late, Dick’s already attached to his new big brother.

This teenager is obviously a threat, he knows their secret identities, but Bruce can see a bit of himself in the lost young man in front of him. He’s around the same age he was when he made the choice that changed his life forever. And having two young boys in his life, two young heroes, he can’t help but want to help Tim. It doesn’t hurt that the kid’s obviously smart and in good shape. A year later, Batman gains another partner.

Damian was never sent to Bruce, he stayed with the League. Eventually, he and Talia killed Ra’s. He becomes Talia’s right-hand but he doesn’t want it. He’s so disinterested in his own life and Talia, for all her flaws, loves her son. She tells him to leave, to “find himself or whatever it is young people do” and so Damian does. He leaves Nanda Parbat at ~18 and travels.

Damian has many skills, but he feels he’s best at killing people, so it doesn’t take long for him to take up contracts. Traveling’s fun and all but he grew restless. He does this for years, he makes a name for himself outside of being an Al’Ghul. And he’s visited Gotham, of course he has, but he doesn’t long for Bruce’s approval. He isn’t a child, he isn’t good person, and he isn’t a Wayne. Bruce means nothing to him, not really he doesn’t think Bruce would ever want him.

So, he keeps an ear out for news regarding the Bats. He visits Gotham every time he learns of a new child but he never allows himself to be noticed. One day, he hears whispers of the Wayne children being in Ethiopia of all places and he can’t help but seek them out. He gets there in time to put the Joker down permanently and prevent any lasting damage to any of them. They’re all taken by this mysterious savior to varying degrees (Tim’s the most cautious), but Dick is especially enthusiastic.

They manage to distract Damian long time enough for Bruce to get there. The long await meeting occurs and Damian decides fuck it, might as well let his father know about him. Bruce has more than enough children to fuss over and he’s an adult with his own life completely separate from Bruce, no need to make a big deal out of it. It is a big deal and Bruce is in shock and infuriated and heartbroken about his very much adult son being kept from him all this time.

As much as Bruce begs, Damian doesn’t go back to Gotham with them. Regardless, he keeps up his occasional visits and stays out of sight. Surprisingly, or maybe not, Dick is the first to find him out. And Dick, amazing human bean that he is, grows on Damian with time and interactions. He’s impressed by this child his father took in and he can’t help but want to teach him a few moves. Bruce wasn’t as oblivious to these meetings as he made himself seem, but he knows Damian isn’t interested in Bruce being his father. He’s hoping he can bridge this gap between them with Dick.

It works.

[tarucore]

ok but thinking about that one post, I think what modern Robin origin retellings get wrong is that Bruce was not a strict guardian, he wasn’t overly cold or distant from Dick, and I say this without judgement bc I love books like Robin: Year One and I’ll probably love the newest Batman and Robin series that’s coming out, but no modern comic really has a handle on how their partnership worked for the first 5-6 years

like the main problem between them in the early years is that they were best friends, partners!! He thought this kid was the best!!! Bruce was incredibly lenient with Dick if you think of their relationship as strictly father/son, and a huge part of their issues as Dick grew up was that Bruce suddenly started setting boundaries and treating Dick like a child just as he was becoming an adult, probably after he read a parenting book (joking) or realized that he was terrified of losing someone close to him again, whether that be by death or Dick moving away

I just don’t get why people are so insistent on ascribing the traits of modern Batman onto his early years, if Bruce had acted as emotionally distant and paranoid as he does now in certain comics then Dick would have never been as close to him as he is, and he would have left the position of Robin way earlier if Bruce hadn’t treated him like an equal

If you don’t want to lean into the campy, fun golden age Batman attitude that’s completely understandable but I’ve found hardly any modern adaptations that convince me Bruce likes the kid, much less loves him

[fightwing]

the implication some version of animated teen tita.ns vaguely like ttg exists in comic canon.... i desperately need to know who in dick's life is a die hard show fan and how many times he rants he's 'not like that'

[moeblob]

Karen has four older brothers and this is Ross! He's the second oldest and he looks rather polite and smiles a lot and when he's at work he can behave most of the time... but he really has such a foul mouth it puts Right to shame.

And Karen when she was a kid couldn't pronounce S's and they sounded like Z's. So when her brothers would be leaving for school she would say "enjoy zool" and just. Could NEVER say Ross's name correctly so he told her to just call him Oz. And it stuck but only with Karen. She's the only one to use it and no one else is allowed.

[stephaniebrownthespoiler]

the bruce-steph dynamic is actually really interesting it's a crime that dc wasted Steph's robin run so bad

[nightmareinfloral]

the misogyny that pervades fanon batfam spaces is so insidious. i see what you write about talia, janet, and catherine in order to have a “good batdad” moment and it disgusts me.

[silverwhittlingknife]

Hey I was stalking ur page just now and tripped over the “dick and tim and food” posts and it made me think of how, during the “Robin in keystone city” arc, pizza is brought up at least twice, and both times tim specified that he doesn’t want pineapple on the pizza. BUT iirc tim normally enjoys or at the very least tolerates pineapple on pizza, and I wanted to know if you thought maybe tim was avoiding pineapple pizza bc it’s a tim and dick thing for him and he’d miss his brother or something

Or maybe I’m just being weird or something idk

HEADCANON ACCEPTED I LOVE THIS

(the context of the panel is that dick ordered pizza, and alfred told him that he could've made food, so dick is saying "uh huh but i bet you wouldn't willingly make anoudille and pineapple pizza though" and alfred is all "no i would NOT and i can barely tolerate that you're eating it in front of me")

anyway so YES clearly tim can't eat andouille or pineapple pizza without Dick!! it'd be lonely

[ratguy-nico]

My first commission is officially over, I should open a champagne but I don't drink so this will have to do

[inamindfarfaraway]

I can perfectly picture a Batman: Wayne Family Adventures two-partner that properly introduces Harvey Dent, Two-Face, their relationships with Bruce and vice versa. But I can't draw in the slightest. So I'm going to script it and you'll have to use your imagination. It’s a little longer than the average WFA two-parter. But given how many thoughts and feelings I have about Harvey, I’d say it’s impressively concise. For me. If you like how I write Harvey, I recommend my fanfic spotlighting him as a teenager, compared to which I must warn you this script is positively fluffy. Read it on AO3 here! If you want to draw any of this, please tell me in advance and use the updated original post or the AO3 fic, not necessarily your reblog.

A Second Opinion

Part 1

[Panel one. Vertical rectangle, full screen. Nighttime. The exterior of an abandoned building that is notably more decrepit on the right side, Two-Face's current base of operations, from a distance and high angle. The Batmobile is parked outside. Bruce as Batman is seen on the rooftop from behind, striding stiffly toward the skylight. A speech bubble floats in the air above him.]

Barbara: Are you sure you don't want backup?

[Panel two. Barbara as Oracle watches with a frown of wary concern at her desk in the Clocktower.]

I know these confrontations are very personal for you -

[Panel three. Bruce leans over the skylight seen from below it, about to kick it in. His fists and jaw are clenched, teeth gritted and eyes narrowed sharply; even for Batman on a mission, he's in a bad mood.]

Bruce: I'm fine. I have him right where I want him.

[A speech bubble floats in the space below the panel.]

Harvey: I have him right where I want him!

[Panel four. Fade into a flashback. In stark contrast to the dull and dark blues, greys and blacks of the present scene, the flashback panels are full of light, saturated and warm colours. Harvey Dent stands at a round red table outside a café on a sunny day, beaming. He's a handsome, sturdy man with neat, short black hair, a semi-formal brown suit and wide brown eyes. He was seated, but has risen and slammed his palms down on the table in his enthusiuam. Slightly low angle, like the camera is on the table, and to the right so we have a better view of his left side. A gold wedding ring gleams on his finger. His introduction box reads: ‘Harvey Dent, District Attorney. Gotham’s best lawyer, technically and morally.’.]

And think of the implications! If the Salvatore Maroni can face justice, so can anyone.

[Panel five. He paces a little behind his chair, gesturing animatedly. Motion lines trail and curve around the other way behind him. His right side is now in profile. Same angle, but pulled back to see over the shoulder of a younger Bruce wearing a nondescript black shirt.]

If his empire can crumble, so can any criminal organization or corrupt institution, no matter how powerful. This trial could be a beacon of hope for Gotham. Proof that the law can actually help people, that the spirit of it is alive.

[Panel six. Opposite Harvey, Bruce is sitting comfortably. He has notable eyebags and less light in his eyes than Harvey, but smiles in earnest admiration.]

Bruce: I think you're right. Maroni used to own the city, but ever since you, Jim and Batman started working together...

[Panel seven. Side shot of both of them from Bruce's right and Harvey's left, showing them down to their legs. Bruce leans forward. Harvey has sat back down. In the background, their memories conjure a vision of Batman and Harvey shaking hands before the Bat-Signal. The figures' lower halves fade to translucent above and behind their real counterpart's heads. That Harvey is smiling too and the one leaning forward, while Batman's mouth is a flat line but his eyes are soft.]

things have changed more than I could have imagined.

Harvey: I just hope we can keep it up. Maybe in a few years, Gotham won't need a Batman.

[Panel eight. Close-up on the right half of Bruce's face, a narrow vertical box in the upper left section of the screen. His expression is of shock and vulnerability, although he isn’t offended. He has simply never considered being able to end his crusade before. Panel nine. A bigger square containing his entire face and taking up the rest of the screen.]

Bruce: Do you really believe that?

[Panel ten. Closer front shot of Harvey at eye-level. We can now see that he actually does have bags under his eyes. He's more pensive and his smile drops.]

Harvey: Yeah. I mean, Bats is a great guy. I don't want him to just disappear. But his methods...

[Panel eleven. Deep shot. Two petty crooks run through an alleyway at night while Batman looms behind them atop a ledge, a huge, hulking silhouette crouched animalistically with piercing white eyes and clawed fingers raised to pounce. The scene is somewhat abstracted to highlight the criminals' emotions. The alley walls seem to be closing in on them and Batman's curling cape flows into the surrounding darkness. Angle is above the very small-looking criminals, but below Batman such that his striking, soulless eyes glare right at the reader. Harvey's speech bubbles are in the top left and bottom right corners, framed by the blackness.]

fighting violence with violence and terror with terror... they're hardly ideal, are they?

[Panel eleven. Harvey places his right hand on Bruce's left arm in pride, who is too busy processing to return his smaller, softer smile of personal affection. Side shot from Harvey's left and Bruce's right that cuts them off at the torso.]

In my opinion, the work you're doing with the Wayne Foundation does better at lowering crime rates in the long run.

[Panel twelve. Over-the-shoulder shot again, Harvey's this time to show Bruce full of love, relaxing and leaning into the touch.]

Bruce: Well, in my opinion, you're a better person than me or Batman.

[His second speech bubble descends into the empty space.]

And I’d love to see the day Batman can retire.

[Panel thirteen and fourteen occupy different vertical halves of the screen and the same horizontal space for half of their lengths, the former higher, the second lower. The first shows Harvey from the right cut off at the thighs, in a courtroom, delivering some kind of unwritten passionate declaration; on his left and in the background, the defendant, the aforementioned crime boss Maroni in a nice black suit, holds an opaque bottle labelled as cough medicine and smirks viciously. The second is a close-up of Harvey’s head on the floor. Only the right half of his face is visible, the left turned away, and he is howling in unfathomable agony, tears streaming down his cheek. The stem of his speech bubble reaches down to the top of panel fifteen. This is a straightforward frontal shot of Bruce in the present. He stands tense and grim, poised to throw a Batarang with his right arm. Silver moonbeams shine through the broken skylight. Layered in front of the panel’s top border and behind Bruce, Harvey’s scream appears to ring through the cowl’s bat ears and extends continuously offscreen in extra large, blood-red lettering. The bubble fades around it to make it stand against the background.]

Harvey: ARGHHHHHHHHHHHHHHHHHHHHHH

Bruce: Two-Face.

[Panel sixteen. Same angle of Harvey and Two-Face. The left half of their face is ravaged by raw, pink chemical burn scars and has a bloodshot eye with burned lids; even their right eye is sunken and shadowed with a menacing glint; their hair is the same on the right, but bleached white, longer and wild on the left; they wear an angular, elegant suit divided vertically in alternating black and white. They’re smiling smugly, posture calm, confident and commanding. Their right hand aims a pistol at Bruce, and the camera. The other hand, bereft of a ring, holds their two-headed coin. Their introduction box reads: ‘Harvey Dent & Two-Face. All the drive. Fractional sanity. Half the morals, or less.’. The outlines of their speech bubbles are smooth as usual on the right and rough and scribbled on the left when both alters in the system are in relative cooperation - a dual consciousness referred to as ‘H/TF’ in the script - completely smooth when the still goodhearted, but deeply troubled Harvey is speaking alone, and completely irregular for the much more merciless, callous Two-Face personality alone.]

H/TF: Bats! Let us guess: you didn’t bring any backup because you have a self-righteous hero complex about us in particular?

[Panel seventeen. Closer frontal shot of Bruce scowling and hunching his shoulders in shameful concession.]

Two-Face: Good. Those Robins are nothing but trouble.

[Panel eighteen. Long rectangle panning down the room. Bruce and H/TF are in the background as H/TF gesture with their left arm to two men dressed like high-level businessmen in the foreground, tied to chairs with a gun pressed to each of their heads by H/TF's identical twin henchmen. The captives are bruised, cut and slumped in exhaustion.]

H/TF: Now, take one step toward us and the hostages get it. Don't go feeling sorry for them. They work for Oswald Cobblepot. His reform is fake -

H/TF and Bruce: Obviously.

H/TF: And they've already told us everything.

[Panel nineteen. Horizontal side shot from Bruce's left and H/TF's right, to frame the hostages between them.]

H/TF: But if you go after us, you'll lose your best lead on his criminal activities.

Bruce: And people will be dead.

H/TF: Yeah, whatever.

[Panel twenty. Close shot of H/TF from the left. They look left, contemplating their coin in their open hand. One face is corroded and blackened by acid, the other shiny and clean, both visible as it's drawn in a motion frame while spinning.]

You say that making our decisions based on chance is irrational and unhealthy, but believing in free will isn't all roses either. So many tough choices.

[Panel twenty-one is small box in the middle of the screen capturing the impact of the Batarang knocking the gun out of one of the henchmen's hand. H/TF's speech bubble floats in the space below it.]

There's never a win-win, is there?

[Panel twenty-two, a vertical rectangle. In the lower foreground and to the right, a gleeful H/TF bolt to the slight right of the camera, relishing both their escape and how unhappy their enemy is. In the background, Bruce restrains the armed henchman with a bolas while knocking the unarmed one out behind him with a backhanded blow. His cape billows with his rapid movement.]

At least the coin lets us be unpredictable!

[Panel twenty-three. Angle is essentially Bruce's POV. H/TF glance over their right shoulder, showing their unscarred features twisted in mockery, and sarcastically wave with their gun. They're just beyond the doorway.]

By the way, we're very good at getting two things done at once. You might wanna check your car.

[Panel twenty-four. Outside. Bruce's shadow falls from below the border diagonally over the Batmobile. Its tyres are slashed. Its fuel is leaking out into a puddle underneath it. In the next panel, we see him at eye height past the front end of the car. He has fallen to his knees, head hung.]

Bruce: Oracle? You were right. I need help.

[The black sheen of the Batmobile fades into a flat black background below. But then, within the darkness, floats a speech bubble.]

Barbara: You've already got it.

[Panel twenty-six. The first two sentences are in a bubble at the top, connected to the final sentence’s one dead in the middle. She's viewed from behind at a low angle looking up at her computer monitor. Her shoulders are assertively squared. Her security camera footage is split in two; Bruce and the crippled Batmobile are in the left window and H/TF's getaway car (also black on one side and white on the other) racing along a road in the right.]

We've been gathering intel. We know where Two-Face will strike next - and you know him as well as he knows you. Let's make a plan B.

Part 2

[Panel one. Distant establishing shot of a brightly lit black-tie gala in a vast, ornate hall, the tasteful decor dominated by white, light blues and silver. A caption informs us that this is 'The Cobblepot 'Charity' Gala'. Oswald Cobblepot is in the heart of the crowd, shaking hands with some official. Bruce Wayne is within earshot, but nearer the double doors. Panel two is a lower, tighter horizontal rectangle where Oswald and his guests are staring at the camera with tiny black dots for eyes in alarm at the doors slamming open. H/TF’s shadow falls over the floor. Panel three shows that Harvey and Two-Face have invited themselves, holding an assault rifle in both hands. Three smaller vertical panels on alternating sides of the screen show the doors being locked by pairs of Two-Face's minions in contrasting, complemetary outfits and wielding guns. The bird’s eye view of panel seven makes it clear that the guests are surrounded and trapped. Panel eight cuts back to H/TF.]

H/TF: Good evening, scum and enablers. We're -

[Panel nine takes us closer to focus on their - or rather, Harvey's - surprise.]

Harvey: Bruce? What are you doing here?

[Panel ten is a frontal shot of Bruce, like the camera's been reversed in the same position. His confusion is an act, but his concern is real.]

Bruce: I'm the richest man in Gotham and this is a high-society gala. What are you doing here?

[Panel eleven. Side shot that doesn’t show the scarring. Harvey lowers the gun, eyes softening as Bruce reaches out to him.]

I thought we agreed that you still needed treatment.

Harvey: I…

[Panel twelve. Frontal short. Remembering his mission, Harvey loses a degree of control and the two embittered alters lightly push Bruce away and point the gun straight ahead at Oswald with a glare. Motion lines trail from their arm.]

H/TF: That doesn’t matter! What matters is taking down the Penguin!

[Panel thirteen. Oswald presses a hand to his chest, somehow at once mortified and supercilious. You can hear the melodramatic sad violin. Beside him, his associates are cowering and aghast.]

Oswald: Why, everyone knows that I’m reformed. Attacking me when I’m doing good just proves how far you’ve fallen.

[Panel fourteen. H/TF snap at him furiously, and their speech bubble is large, spiky (still with the different texturing) and has a red outline for emphasis. Their eyes are stylized as flames; their right eye’s flame is orange and the left’s blue. Bruce is giving Oswald an intense sidelong glare. His lettering is smaller and his bubble's outline dashed to indicate that he's speaking under his breath.]

H/TF: SHUT UP!

Bruce: Shut up.

[Panel fifteen. Wide low angle shot up into the shadowy rafters. Damian, Dick and Tim are hiding in their vigilante identities and watching the scene below intently, at the ready. Their speech bubbles are dashed as they’re whispering. Damian is tense like a coiled spring, hand is on the hilt of his sword. Dick’s facial expression is blatantly disdainful of the villain in question, but his position and body language are calmer. Tim is all business.]

Damian: Shouldn’t we -

Tim: Not until the signal, remember? We don’t want to escalate and endanger the civilians.

[Panel sixteen. Close-up profile shot of Dick.]

Dick: Yeah, I hate Two-Face, but Bruce has got through to Harvey before.

[Panel seventeen. H/TF aim their gun with their right hand as their left reaches into their pocket to take out their coin. Their jaw is tight in composed ire. Diagonal angle to show Bruce on their right, overlaid by the gun. HT/F's speech bubble is near their head, but Harvey's is under the panel-dividing horizontal line of the gun.]

H/TF: You have the right to remain silent, forever.

Harvey: Bruce, get out of here.

[Panel eighteen, a square. Bruce is alone in the frame. He folds his arms, Batman's stern, steely presence creeping into his expression and posture.]

Bruce: Whatever you're willing to do to those people, you can do to me.

[Panel ninteen. Same composition with H/TF. They frown, the unscarred features looking regretful while the scarred ones look annoyed and disdainful.]

H/TF: Fine. Just stay out of our way.

[Panel twenty. Close up as they flip their coin. We get the blurring motion displaying both sides again. The next panel is a repeat shot where Bruce’s right hand snatches the coin in midair.]

H/TF: HEY! Give it back!

[Panel twenty-one. Extreme close-up, narrow horizontal parallelogram focused on Bruce's defiant stare. His speech bubble floats close underneath.]

Bruce: No.

[Panel twenty-two. He holds the coin out of reach. The camera is angled over and to the side of Bruce's left shoulder, to put as much visual distance between his outstretched right hand and H/TF as possible, Bruce's body in between them. H/TF’s left hand is balled into fist around the lowered gun while their right gestures like they’re arguing a case in a courtroom. They look resentful, but also coldly resigned. The speech bubbles can extend out of the panel. In the backgroud, some of the guests are depicted as simplified, featureless figures.]

H/TF: They aren’t worth sticking your neck out for. Nobody in Gotham is -

Harvey: I learned that the hard way.

Bruce: And I’ve learned otherwise. This won’t make things better, Harvey.

[Panel twenty-three. Two-Face fixes the gun on Bruce with a sadistic, unhinged snarl that’s distinctly his own.]

Two-Face: Listen, Wayne, I don’t care for you a bit. Give us our coin back or I’ll -

[Panel twenty-four. Bruce raises an eyebrow.]

Bruce: But what if it’s good heads?

[Panel twenty-five. Two-Face freezes. A ‘Twitch’ sound effect is at the corner of his right eye. Panel twenty-seven. A henchman aims his own gun with nervous eagerness.]

Henchman: I'll get your coin for you, boss!

[Panel twenty-six. The vigilantes leap down from the rafters. Dick's already thrown a Wingding to disarm him that flies downward rotating and seems to cut the shape of the panel, which has a tapering lower end.]

Dick: No!

[Large red 'BANG!' sound effect between panels. Panel twenty-seven is a small box in the middle of the screen showing the Wingding knocking the smoking gun away a split-second too late. Panel twenty-eight. Bruce and Harvey in the background and the bullet in the foreground are centred. Harvey slams into Bruce and knocks him down with his full weight, briefly putting himself in the path of the bullet.]

Harvey: Bruce!

[Panel twenty-nine. Long, vertical rectangle panning down from above the vigilantes standing in dramatic heroic landing poses at the top of the frame, wearing varyingly emotive expressions of shock, to Bruce lying propped up by his elbow and Harvey on his hands and knees at the bottom. The discarded assault rifle hits the floor between Harvey and the vigilantes with a 'Clatter' sound effect in yellow, uneven text. The coin slips out of Bruce's hand with a motion line to rest between him and Harvey. Panel thirty. Angle at eye level with Bruce and Harvey. Bruce sits up. He stares at Harvey with shining eyes and the beginnings of a smile as he processes what just happened, and what didn’t precede it.]

Bruce: You saved my life.

[Panel thirty-one. Angle is behind Bruce’s head. Harvey avoids eye contact, showing Bruce his unscarred profile. He’s solemn and though he too has a relieved hint of a smile, it doesn’t reach his eyes.]

Harvey: You never stop trying to save me. It was the least I could do.

[Panel thirty-two. Harvey’s POV. Low angle, tilted up at Bruce on his feet, offering his hand to help him up. We can tell that it’s Harvey’s perspective with both eyes because the left half of the image is dim and blurry due to the damage the acid did to his left eye. The speech bubbles are exclusively on the right.]

Bruce: It isn’t too late, Harvey. You can still heal. You can get better, be better.

[Panel thirty-three. Close-up on the right half of Harvey’s face, a narrow vertical box in the upper left section of the screen. His expression is of tentative, wary hope and raw vulnerability. He has wanted to end his crusade throughout its duration, but never been able to. Panel thirty-four. A bigger square containing his entire face and taking up the rest of the screen.]

Harvey: Do you really believe that?

[Panel thirty-five. Side shot that now only shows the side shot of Harvey’s face. Bruce kneels down be closer to eye level with him.]

Bruce: Yes. Always, I’ve been where you are. Feeling like you can never be more than all your pain and anger. But if you want a second opinion, I think you’re a better person than you know.

[Panel thirty-four. A square in the middle of the screen. Harvey’s right hand reaches out to Bruce’s waiting one, but lingers, tense and trembling, above the coin. Panel thirty-five. Vertical rectangle. Harvey shrinks in on himself, hunched over with his face buried in his arms and hands clutching his hair; perhaps he doesn’t trust himself not to pick up the coin and give Two-Face a means to make harmful decisions, just can’t make another choice of his own or both. Around him blackness with spiky, scribbled inner edges consume the screen like reality is fracturing or dissolving, or some all-consuming destructive force is coming for him.]

Harvey: Just… just take us to Arkham. We deserve it. We need help.

[The black extends, replacing the white background. But then, within the darkness, floats a speech bubble.]

Bruce: You’ve already got it.

[Fade into panel thirty-six. Horizontal rectangle. Distant, high angle. The black lightens to purple and becomes the night sky, which is warming to pink at the first moment of dawn. Harvey is handcuffed, about to enter a police car on his right. A cop is escorting him. However, Bruce has his left arm around his shoulders and they’re both in relatively good moods, similar to how they were in the flashback.]

Harvey: When did you get so optimistic, Mr Gothic McBrooding?

Bruce: Someone has to be. And hey, I had a good teacher.

[tbcanary]

i’m sorry for going on a bit of a bender but literally babs was the first one ted told about his heart condition, and also the reason why he went to get it checked out in the first place, and ted helped with birds of prey shit despite being retired, he took her out in the bug despite being retired, and she appreciated it in full in a way many people couldn’t because she’s a techie nerd just like him, and he could appreciate the work she put into her oracle displays, and they were just friends. they were just good, platonic friends, who loved and cared for and supported each other, and god i miss them.

[zahri-melitor]

Anyway since my favourite Barbara & the Joker story is once again on my mind, I was thinking the other day that you could adapt a version of The Last Laugh (plus Gotham Knights 43-45) into quite a decent Batman movie.

You move the action back to Arkham (or MAYBE Blackgate) and cut most of the Slab inmates portion of the story, just to simplify the action, and you then use the social worker from GK 44-45 investigating Jason’s death as the Bruce angst plot, with the social worker investigating as part of the same round of interviews as the one in JLL who’s talking to Joker victims.

Story still led and centred by Babs and Dick though. Bruce is too disabled by the social worker plot to interfere too much.

[i-currently-have-purple-have-sir]

I stand by the fact that Jason Todd is incredibly with small children, but can’t stand teenagers. He understands that they are kids and it’s not their fault they are awful, but he just can’t stand them. Dick Grayson, on the other hand, is amazing with older kids and teens but if u hand him a toddler he’ll have a small breakdown. He doesn’t get them, and he does things like allow them to watch horror movies at the age of 2 cus he forgets how little they are.