#And yet look at how much LARGER he is compared to Bruce in these panels! Oh God! Zdarksy WHAT THE FUCK WERE THOSE OTHER EYES

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Interesting

Batman #137 - "The Gotham War II" (2023)

written by Chip Zdarsky art by Jorge Jimenez & Tomeu Morey

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Zack Snyder’s Justice League vs. the Whedon Cut: What are the Differences?

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This article contains Zack Snyder’s Justice League spoilers.

Whether you love or hate his style, there is no denying Zack Snyder is an original. From 300 to Watchmen, and Man of Steel to Justice League, his characters often hover above the screen as much as occupy it. They’re mythic figures who’ve stepped off a Botticelli canvas, or at least Frank Miller comic book panels, and they’re imbued with such a sense of scale from their director that the aesthetic is nigh impossible to duplicate. That is only clearer now thanks to Zack Snyder’s Justice League, a restored four-hour edit of Snyder’s original vision for the DC superhero movie team-up and their universe at large.

Admittedly, you’ve seen the movie’s tale before, back when Warner Bros. released a truncated, heavily reshot version into theaters in 2017. But that two-hour theatrical cut of Justice League, assembled by director Joss Whedon, really is a night and day different film. It shares many of the same scenes and story beats, but it lacks Snyder’s singular grandiosity and tonal consistency.

Comparing all the significant changes between the two versions—which we’ll hereby distinguish as the “Snyder Cut” and “Whedon Cut”—creates a fascinating juxtaposition of the different choices filmmakers can make with similar material, as well as the drastically disparate visions the directors had for these six superheroes and the larger DC Extended Universe. So join us as we contrast all the major changes (and by and large improvements) made by Zack Snyder’s Justice League.

The Opening

One of the most surprising changes made by the Snyder Cut comes immediately. Back when the ostensible Whedon Cut of Justice League opened in theaters, one thing many assumed was unchanged from Snyder’s vision was the opening credits. With imagery clearly filmed by the director—including unused footage from the Superman funeral sequence in Batman v Superman: Dawn of Justice—the downbeat credits were edited to Singrid’s rendition of “Everybody Knows,” a cover of a song from one of Snyder’s favorite musicians, Lenoard Cohen. I’m also fairly certain only Snyder would film a homeless man with a cardboard sign saying “I tried” in a superhero movie (the destitute figure may still appear in the Snyder Cut in an overhead shot when Cyborg is later surveying the bleakness of the world).

Indeed, quite a bit of the Whedon Cut’s opening credits scenes are used elsewhere in Zack Snyder’s Justice League, including breathtaking imagery of the Superman symbol draped in black over London’s Tower Bridge. But the new edit foregoes a traditional opening credits sequence for a more restrained montage that returns to the climax of Batman v Superman, and to the moment when Henry Cavill‘s Superman dies. In pained slow-motion, we again experience the moment of Doomsday’s spike piercing Superman’s heart and see how his scream reverberates throughout the world.

The Snyder Cut is more directly linked to the previous movie with Jesse Eisenberg’s Lex Luthor, complete with hair, hearing Superman’s cries from deep in the bowels of the Kryptonian ship. Meanwhile the echoes of Clark’s anguish reverberate all the way past Zeus’ magical cloak to Themyscira where the Amazons (rather impressively) have an entire army guarding the Mother Box they obtained 5,000 years ago. When the Mother Box hears Kal-El’s death rattle, it begins to crack, drawing a terrified Amazonian closer to its new glowing light.

And finally, we end with the cries being heard by Cyborg. It is on the image of a hunched over Ray Fisher that Snyder chooses to include his “directed by” title card, indicating a strong sense of solidarity with the character and the actor who plays him after Cyborg was largely sidelined in the Whedon Cut. Clearly this is going to be a different movie.

Batman

Ben Affleck’s Bruce Wayne remains the focal point, at least in terms of leadership, of both the Snyder and Whedon cuts of the film. But right down to how they’re introduced, these are subtly diverging interpretations of the character. In the Whedon Cut, Batman has the first scene of the movie that isn’t shot on an iPhone. It gets Affleck in costume immediately and features archetypal Gotham City imagery as Batman uses a criminal as bait for a Parademon, an alien from the planet Apokolips that Batman is already familiar with. He’s so aware of these creatures that Batman ignores the thief spelling out the subtext of Justice League’s first act: With Superman dead, where does that leave us?

By contrast, you intrinsically feel that absence in the Snyder Cut. Whereas Whedon and WB got Batman in the costume faster for a tongue-in-cheek action sequence with screaming crooks and flying aliens, Zack Snyder’s Justice League ignores the Batsuit for a clean two hours. Instead, it opens with Bruce Wayne already “north” in a remote part of Europe near the arctic. We get the impression he’s been traveling for weeks on a horse and over mountains, sporting a bushy beard as he reaches the fishing village Arthur Curry (Jason Momoa) has provided supplies to.

The scene where Batman meets Aquaman is more or less the same, but tonally Snyder evokes a funereal quality by letting the scene breathe in Bruce’s desperation instead of Arthur’s flippancy. And rather than Bruce noticing an inserted mural of Mother Boxes being what upsets Arthur, it’s Bruce pulling a trick from Momoa’s on screen wife on Game of Thrones which sets Aquaman off: he reveals after his hosts have made fools of themselves that he too can speak Icelandic. (There is also no longer a joke where Bruce says, “I hear you can talk to fish.”)

This somber opening is strikingly different and a vast improvement (see the Aquaman section for more). After Arthur rebuffs Bruce’s request to team-up, Bruce’s defeated return trip home is also subtly changed. For starters, we see his journey to his private jet where Alfred is waiting. In the Whedon Cut, the pair’s conversation after Bruce has shaved is a reshot sequence with some admittedly amusing character-building dialogue, like Alfred saying, “I miss the days when one’s biggest concern was exploding wind-up penguins.” The Snyder Cut’s version is more expository and ominous. As neither has seen a Parademon yet in this version, Alfred doubts whether Bruce needs to build a team based on the ravings of a now incarcerated and visibly insane Lex Luthor. Batman says he isn’t just doing this based on Luthor.

“I made a promise to him on his grave,” Bruce broods about the Kryptonian alien he hounded to near death in the last movie.

The next time we see Bruce Wayne is in a scene that appeared in the Whedon Cut, if slightly different. It’s when Gal Gadot’s Diana Prince breaks into his “building” with million-dollar security. However, the Whedon Cut led viewers to believe this airplane hangar-like space was the Batcave (even though it visually looks quite different). The Snyder Cut confirms it is a decrepit warehouse near the docks in Gotham harbor. Gone also is the cheeky line, “Yeah, it looked expensive,” from Diana when Bruce mentions the cost of his security equipment.

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In this off-site Batcave area, it’s also established by Alfred that he and Bruce Wayne have built new gauntlets that absorb energy (they come in especially handy later when they save Bruce from Superman’s heat ray vision).

The first time the gauntlets are used occurs when Batman leads a nascent Justice League beneath the tunnels of Striker Island in Gotham harbor. Up until that point, most of Affleck’s scenes remain the same, even if they breathe or are edited slightly differently. Batman recruits Barry Allen (Ezra Miller) to join the Justice League while talking about competitive ice dancing, and looks positively exhausted when Barry sees the Bat-Signal. The early Commissioner Gordon scenes are also the same, albeit now without composer Danny Elfman’s Batman theme from 1989.

In the tunnels, Batman’s scenes diverge again though. There is more of the misterioso act when Victor Stone (Cyborg) says, “I heard about you. Didn’t think you were real.” The Dark Knight answers, “I’m real when it’s useful.” Additionally, Batman doesn’t really mentor the Flash in this sequence or in any other going forward. Gone is the Flash admitting he’s terrified at seeing Steppenwolf and Bruce advising he “save one” person and will then know what he needs to do.

Instead, the Flash says, “I guess that’s the bad guy” in the Snyder Cut, and Batman stoically responds, “Good guess.” Bruce also drops his sense of humor, losing some solid bits like “Sorry guys, I didn’t bring a sword” when the Knightcrawler starts shooting up Parademons. Now he simply says, “My turn.”

However, Bruce remains the stoic team leader, harnessing a steadier team dynamic. There are no insert shots of Commissioner Gordon telling Batman it’s good to see he’s playing well with others after the Striker Island fight, and rather than berate Wonder Woman and his team members into bringing Superman back from the dead, Bruce and the rest come to the same conclusion, silently.

During the sequence where Cyborg reveals the Mother Box can bring Superman back from the dead, no one says Kal-El’s name out loud. The Flash even asks, “Is everyone thinking it or am I going to have to say it?” The camera pans around the table and lands on Bruce, who is watching Cyborg’s projected image of Superman’s cape. It’s a nice moment for Affleck, who looks much more alert in this version than the Whedon Cut. The dialogue in the Snyder Cut can often be perfunctory and expository, but the vast four-hour running time leaves room for the actors to indulge in quiet moments. The only person who doubts the idea is Alfred who in another scene warns Bruce, “If you can’t bring down a charging bull, then don’t wave the red flag.”

Batman counters, “I’m operating on complete faith now.” Quite the about face from the last movie.

The team otherwise staying on the same page, even after the Superman fiasco (more on that below), is a stark difference with the Whedon Cut. Here Bruce invites the team into the Batcave proper after they lose all three Mother Boxes, with teammates regrouping; in the Whedon Cut there is a strained attempt to create tension. Particularly between Bruce and Diana….

Wonder Woman

Gal Gadot has spoken in the past about how she was unhappy with the Justice League reshoots. While still not knowing the full details of what occurred behind the scenes, Zack Snyder’s Justice League makes apparent why she’d be disappointed with the direction of her added scenes.

To be fair, Wonder Woman is still objectified to a certain degree in the Snyder Cut. Her non-warrior attire still revolves around several low-cut dresses, and there is still a (much more understated) flirtation between Diana and Bruce. In an early scene of her and Bruce discussing their prospective teammates in front of a computer—with an awkward stab at humor where she coaxes out of Bruce that Arthur said no—there’s a moment where their hands trip over the mouse at the same time, like they’re in a teenage rom-com. Similarly, when Barry and Victor are digging up Clark Kent’s grave, Barry asks Victor if he thinks Wonder Woman would “be into younger guys.” Victor dismisses the thirstiness by saying, “Barry, she’s 5,000 years old. Every guy’s a younger guy.”

But these moments are few and far between. In the Whedon Cut, they’re constant with Alfred teasing Bruce about Batman inviting Wonder Woman to a candlelit team-up dinner, and a gross gag where Flash saves Wonder Woman during the Striker Island fight but then awkwardly lands on top of her body and gets flustered. Perhaps most frustratingly though, her character arc is reduced to a lot of flirting with Bruce, and coming to see he is right when he chastises her for “still being hung up” on Steve Trevor. She then helps him undress from his armor and shares a drink with him, like co-workers with a forced “will they or won’t they” chemistry.

All of that is gone in the Snyder Cut, which instead focuses on presenting Wonder Woman as the most ferocious and noble of the film’s six superheroes.

Her first scene is much the same as in the Whedon Cut, although it’s another film school-ready example for what a difference post-production makes. We see a group of eco-terrorists take a school group hostage, and Wonder Woman stops them. But in the Whedon Cut, the scene is nimble and brightly colored with a tongue-in-cheek quality, right down to the way Elfman uses an orchestra to play Hans Zimmer’s previously electric “Wonder Woman” theme. In the Snyder Cut, the sequence lasts nearly eight minutes in a desaturated, gray color scheme. The sadism with which the terrorists want to kill their hostages is belabored, and Junkie XL uses a fearsome version of Zimmer’s Wonder Woman theme while introducing one of his own, which relies on a haunting choral harmony.

In the new cut, Wonder Woman not only throws the bomb through the roof but jumps with it to make sure it explodes faar above the skyline. And when she returns, her power move to stop the head terrorist from killing the school children is to obliterate him into dust, with his hat blowing out the window and before the faces of shocked and unnerved London police officers. Meanwhile Wonder Woman then turns around after slaughtering this man (plus another terrorist who’s head she smashes into a wall) to rather jarringly smile at the school children. She leans down before one girl to say, “You can be whatever you want to be.” It’s actually sweeter than her saying “[I’m] a believer,” but I’m not sure it works given the new tone of the scene.

The next time we see Diana is a longer version of the scene where she discovers her mother has fired a burning arrow into the Temple of the Amazons in Greece. Snyder actually uses an impressive long one-take shot where Diana remains in focus, cleaning a statue at the Louvre, while her co-workers stay out of focus and needle her with questions. It’s a genuinely dryly funny, restrained moment, unique for this genre.

There is also an all-new scene of Diana going to Greece and retrieving the arrow from the temple. It’s one of the better additions that feels like a pseudo-Indiana Jones scene of Diana using the arrow to unlock a hidden chamber beneath the ruins, and then descending with a torch. Below she discovers a spooky room filled with spooky murals containing even spookier images of Mother Boxes and war… and a godlike monster DC fans will recognize as Darkseid.

Diana’s narration of what these images tell her is also different (more on that in the Darkseid section), with no lakeside chat with Bruce. Rather than using romantic imagery, Snyder favors to-the-point storytelling between colleagues as Diana tells Bruce in his new Batplane that the Age of Heroes defeated Darkseid. That age is over.

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While Bruce is recruiting Barry, Diana has a nice scene with Alfred about making tea before Victor Stone summons her by hacking the Bat-computer. She has no idea who he is in this scene (as opposed to having seen him earlier in the Whedon Cut), and there is no conversation where she convinces him to meet her. Instead, he designates location, summoning her. Their next scene together is more or less the same as in the Whedon Cut.

Overall, Diana has few added scenes and is honestly one of the less developed characters in the Snyder Cut despite being one-half of the team’s leadership. So the inclination of giving her more to do than discover Darkseid/Steppenwolf’s backstory was a prudent one, but all it left her with was smiling longingly as Batman drives off in the Batmobile during the third act. Ugh.

The Amazons on the other hand…

The Amazons

While Wonder Woman’s scenes in the Snyder Cut largely remain the same, the Amazons are given subtle but fierce new texture in their few added moments.

The movie opens with the Amazons tirelessly on guard when the Mother Box awakens. The next time we see them, Queen Hippolyta (Connie Nielsen) is arriving to inspect the phenomenon for a prolonged build-up to Steppenwolf’s attack. When one soldier tells their Queen maybe the box will go back to sleep, Hippolyta remarks, “Evil doesn’t sleep. It waits.”

Steppenwolf eventually attacks, leading to one of the best moments in the Snyder Cut. When he says his Parademons will feed off their fear, Hippolyta calls to her Amazons, “Daughters of Themyscira, show him your fear!” In a tribal yell matched by Junkie XL’s score, they chant back, “We have no fear!” Slaughter commences.

The battle is much bigger and more reliant on slow-motion, including shots of Hippolyta flipping off walls and hesitating to bury the other Amazonians alive. Yep, when she tells her sisters to seal the cave, it’s a death trap. The door collapses, and then the whole structure also falls into the sea. There is then A. Long. Beat. of Hippolyta thinking she’s killed Steppenwolf before he and his Parademons ascend from the sea to slaughter more of the Amazons.

The Amazonians’ defeat is largely the same, although there is now a long denouement, with the Amazons having a musical prayer that grieves their dead and brings magic to the arrow they’ll fire to warn Diana. The Amazons and Wonder Woman iconography are also much more heavily featured in flashbacks to Darkseid’s first attack on Earth 5,000 years ago. We get better shots of Zeus and Ares (David Thewlis from Wonder Woman), and Amazonian Venelia (Doutzen Kroes) being filmed like she’s one of Snyder’s 300 Spartans in the ancient war. But all of that is just background for…

Steppenwolf and Darkseid

Steppenwolf is one of the most dramatically improved characters in Zack Snyder’s Justice League. Beyond more spikes being added to his armor (and his chin being slightly shrunken from its ridiculous size), the Ciarán Hinds-voiced baddie’s motivations are wholly different. In the Whedon Cut, he was a generic “conquer the world” supervillain who was defeated thousands of years ago on Earth by an alliance of men, Amazonians, and Atlanteans. He then returns and refers to his Mother Boxes as “mother.”

While he still chases magic boxes he wants to use to conquer the world in the Snyder Cut, he’s at least a little more nuanced and a lot more despairing toward the whole endeavor. Steppenwolf is revealed to be a meek middle management malcontent with dreams of coming home. As we eventually learn in dialogue exchanges over BvS’ weird molten metal intergalactic telecommunication technology, Steppenwolf is a pariah back home on the planet Apokolips. Long ago, he was party to a failed coup against comic book creator Jack Kirby’s ultimate space fascist, Darkseid (Ray Porter). Think Thanos before there was a Thanos.

“I fall before you,” Steppenwolf moans during his first conversation with Darkseid’s minion DeSaad (Peter Guinness). “Let me make a plea that I may come home after I take this world in [Darkseid’s] name.” But DeSaad will not hear it, saying Steppenwolf is basically on probation for helping an attempted coup against Darkseid millennia ago, even if Steppenwolf then changed sides and killed Darkseid’s other betrayers. Now Steppenwolf has a debt of a 150,000 worlds he must conquer in Darkseid’s name if he wishes to return home.

Basically, Steppenwolf is a putz. Hence he can be both menacing and pathetic when he first attacks the Amazons and remarks of them, with a hint of resigned boredom, “Defenders? Defenders have failed a hundred thousand worlds. They always fail.” And it’s with exhaustion he decides to create his home base on an irradiated scrap of Russian land because it’s toxic.

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Darkseid, by contrast, is introduced to be Emperor Palpatine meets Sauron. Aye, there’s a real Lord of the Rings level of ambition to Diana’s flashback to the Age of Heroes. Rather than Steppenwolf, it’s Darkseid who first steps foot on Earth, turning some of the soil into the scorched cursive hellscape that Kirby fans will be intimately familiar with. We also get a better look of his foes, including an alien Green Lantern whom Darkseid personally kills by cutting off his hand. The green ring flies away before the fiend can grab it.

The sequence is filmed to mirror the opening moments of The Fellowship of the Ring, with Darkseid’s defeat harkening back to the glorious day the people of Middle-earth were victorious. However, personally speaking, it doesn’t reach that height, with Darkseid coming off like more of an overpowered Orc who’s out-flexed by Ares. Yep, David Thewlis’ villain from Wonder Woman is revealed to be the guy who whoops Darkseid’s ass in the end, planting an axe in his shoulder blade and leading the Greatest Evil to be carried from the battlefield, screaming.

Much later in the movie, Darkseid is introduced properly when Steppenwolf reveals he’s learned Earth is home to the Anti-Life Equation. It’s a pretty vague secondary MacGuffin in the context of the Snyder Cut, although Steppenwolf says it would give Darkseid power over the multiverse—it’s unclear why Darkseid did not know it was on Earth when he lost to Ares and the band of heroes, or why he never could come back for it.

However, Darkseid then appears on the telecom with Steppenwolf, causing the Spiked One to take off his armor for the first time and show his bare flesh in fealty to his space dictator. Darkseid promises Steppenwolf he can come home once he’s taken Earth and brings Darkseid the Anti-Life Equation.

We also get a glimpse of how Darkseid plans to use it. Elsewhere in the movie, Cyborg has an inexplicable vision the moment right before a Mother Box is used to bring Superman back from the dead: It’s of an Armageddon much darker than the Knightmare scene in Batman v Superman. The sequence begins with the Amazons finally off Themyscira. They’re burning Wonder Woman in a funeral pyre after putting two coins on her eyes for the boatmen. Hippolyta cries.

Elsewhere in a montage, Superman grieves over the scorched body that can only be Lois Lane (Amy Adams) and Darkseid appears to place a not-so-comforting hand on his shoulder. Later we see the ruins of the Hall of Justice that diehard Superfriends fans will recognize, with an evil Superman flying over it with heat ray eyes. Finally, we see Darkseid himself murder Aquaman with his own trident…

This appears to be an inevitable future of “the Snyder Verse.”

Aquaman

But that is not the destination of the current film. The Snyder Cut, after all, has to lay a lot of groundwork that’ll make us care about these characters in the here and now.

Aquaman is the first to get that treatment in his early scene with Bruce Wayne (detailed more above). The Whedon Cut includes Arthur Curry saying, “You’re out of your mind, Bruce Wayne” as he gets into freezing cold water to swim away. In the Snyder Cut, we don’t see him shoot off. Rather Arthur disappears quietly beneath bubbles between shots. Snyder’s desire to emphasize the godlike wonder of these characters is then underlined in neon when several villagers see him off by singing a worshipful Icelandic hymn in Aquaman’s honor.

If the point is missed, after several minutes of crooning, one woman walks up to caress the sweater Aquaman took off and sniff it, savoring his undoubtedly godlike musk.

The sequence of Aquaman saving a crew from a shipwreck is almost exactly the same in the Snyder Cut, although there are no added jokes about him calling the captain “Ahab” in the bar. Additionally, there’s a really nice grace note of Nick Cave and the Bad Seeds’ “There is a Kingdom” playing when Aquaman goes to brood stoically before a raging storm. It’s exactly the same as in the Whedon Cut, but Whedon makes it generic blockbuster filler with a White Stripes song playing in the background. Snyder goes for a mournful, reflective tone that resembles the better elements of his version of Justice League.

Afterward Aquaman makes his first of two trips to Atlantis in the film—meeting Vulko (Willem Dafoe) in a scene that was entirely deleted. It turns out the effect of Atlalnteans only talking in air bubbles was always a Snyder affectation, although what was lost in the Whedon Cut (and eventual Aquaman movie) is that all the properly born Atlanteans speak with English accents. Dafoe’s Vulko is a bit hammier, seeming adjacent to Dafoe’s wonderful turn in The Lighthouse. But Amber Heard’s Mera speaking her lines in a purely Posh London accent after a whole movie of her using an American one in Aquaman is a real trip.

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What brings Arthur back the second time is Steppenwolf diving below the waves for the Mother Box. He learns of its location (which is unexplained in the Whedon Cut) by torturing Atlanteans whom Parademons have dragged from the ocean, reading the water dwellers’ minds with some gruesome sci-fi spider robot.

Steppenwolf’s actual attack on Atlantis is much more coherent in the Snyder Cut. With action beats given time to pause, and Steppenwolf’s surprise appearance underwater less hilariously cringe-inducing. Mera also gets a cool moment where the villain has her pushed against the wall and says she can’t run away, “I wasn’t trying to,” she responds. Previously, we saw her use superpowers to suck water out of air pockets; now she uses it to suck the blood out of Steppenwolf’s face. He of course throws her back into the water and almost kills her if not for Arthur’s chivalrous, splash-page rescue of his future love interest.

Most of Aquaman’s subsequent scenes play out the same, although he is much less brutish and frat bro-y. There are at least three fewer “yeahs” and “alrights!,” and there is no scene of him sitting on Wonder Woman’s Lasso of Truth, blurting out he’s scared and horny at the same time.

The Flash

Interestingly, the Flash is both the least developed of the superheroes in the Snyder Cut and also the most unchanged by Whedon. It appears that Ezra Miller’s seemingly improvised humor was the element of least importance to Snyder, and the most useful thing Snyder filmed for Whedon’s purposes.

Maybe that’s why the Flash’s first scene in the Snyder Cut does not occur until nearly 70 minutes into the film. It’s also a wholly different introduction scene to what we saw in the theatrical cut. In the restored sequence, Barry Allen is applying for a job as a dog groomer at a pet shop when the unnamed woman who just left—or as fans know her, Iris West (Kiersey Clemons)—is almost pancaked by a semi-truck. The driver, in a rather crude cliché, is a simpleton reaching for his food on the cab’s floor when he slams into Iris’ convertible.

Luckily, Barry sees it coming and slows things down for another somber needle drop on the soundtrack. The whole thing plays like a more wistful, alternative rock version to one of Quicksilver’s big scenes in the X-Men movies. In extreme slow-motion, Barry catches a hot dog from an exploding hot dog vendor, placing it in his pocket, and then catches Iris out of her shattered car. When time returns to normal, Iris realizes she was saved by this cute dork, who then rushes back in time for the pet shop owner to be unsure who broke her window in the blink of an eye. Barry’s feeding the hot dog to her canines.

Otherwise, by and large, the Flash’s scenes remain the same until near the end. Snyder has removed Whedon’s unfunny addition of Barry drawing glasses on the eyes of someone in line while waiting to see his dad at prison, but the Miller/Billy Crudup scene remains the same but longer. Bruce Wayne still breaks into Barry’s loft and tells Barry his superpower is that “I’m rich.”

In the Striker Island action sequence, rather than “save one,” the Flash leads an exodus of civilians to the surface. And when debris nearly falls on them, he creates a shield by running so fast he looks like lightning in the sky blocking the falling rubble. He also is wounded by a Parademon laser blast so sharp it leaves him bleeding from the side of his leg, temporarily hobbled.

The one significant change before the climax is Barry and Victor digging up Clark Kent’s grave. It’s a sincerely quiet moment that (Wonder Woman leering aside) is refreshingly earnest and hushed for a superhero movie.

“I could do this in a second,” Barry says. Victor responds, “Yeah.” The implication is they should take their time and give Superman the honor he deserves. After his body is exhumed and wrapped up, Barry says, “He was my hero.”

Cyborg

Of the main five heroes in Justice League, Cyborg turned out to be the most important by far. Whatever occurred behind the scenes between Whedon, the producers, and Fisher, the actor had reason to be frustrated simply because his character arc was removed. In its place, he was forced to say, “Booyah.”

The Snyder Cut restores Victor Stone/Cyborg’s importance from the opening credits onward. It begins by basking in what isn’t sad between Victor and his father Dr. Silas Stone (Joe Morton). Initially, we spend more time with Silas, as the father throws himself into his work at STAR Labs to better understand the Mother Boxes.

Eventually, Cyborg gets his own flashback to a time when he was more man than machine. Under an aching musical theme written by Junkie XL, it’s revealed Victor was a gifted genius (his dean even says so!) at Gotham University. Victor is so intelligent, while also being a football star, that he can get away with hacking into the school’s database and changing a friend’s grades.

We also meet his mother who defends her son’s kind heart from the dean in a sequence that’s intercut with his slow-motion football glory, plus a side of melancholy because daddy wasn’t there. Only mom shows up for the game. Afterward they argue in the car about whether Dad really cares about Victor. A car is then seen rushing (unsurprisingly) into frame, T-Boning their car.

The process of Victor becoming Cyborg is only hinted at in scenes through various other flashbacks. But we do see Silas being told his wife is dead and that he’ll soon have to let his son go, too. Hence the bad blood between the two nearly throughout the Snyder Cut’s whole four hours. When we see Silas come home to Victor at their apartment, the son will not even speak to his father. Instead he reluctantly agrees to listen to a recording his father left for him. On the tape, Silas tells his son that the fate of the entire world is now “in your hands, Vic.”

Thanks to the alien technology of the Mother Box used to resurrect Cyborg, Victor has superpowers, which we see him fumblingly try out by flying on his father’s Gotham rooftop. But that’s “just the tip of the tip” of the iceberg, according to Silas’ voiceover. Victor’s high-end computer body now gives him the ability to control the world’s nuclear arsenals and the world’s economy.

This is visualized in a CGI mind palace created in Cybrog’s digital brain. There Fisher gets to play Victor as whole, and without a red eye. Some of it is effective, like floating missiles above his head. Other bits are just ludicrous, like financial markets being personified by a CGI bear slapping a CGI bull. It’s… weird.

But there are nice elements too, like Victor choosing to use his superpowers to see folks suffering, and giving a struggling single mother $150,000 out of an ATM machine. Through it all, he remains hooded and lonely, catching glimpses of people staring at his glowing countenance. It’s why he destroys his father’s recording when Dad tries to stop talking about Cyborg’s powers and instead address Vic as a loving father.

What draws Victor out of his proverbial cave is of course his father being kidnapped by Parademons. He seeks Diana Prince’s counsel but ignores her when she says his powers are a gift—I did miss the line, “If these are gifts why am I always the one paying for them?” Still, as in the Whedon Cut, he shows up on GCPD’s rooftop to join the team.

The one big addition during all the fighting is that when Cyborg flies now, his famous comic book face armor that protects everything but his red eye is finally used on screen. Plus he gets to save his father. Silas is shocked his son came for him, but Victor only says, “You’re my father.” Nothing more needs to be said.

After the Striker Island fight, however, Victor again takes center stage when Aquaman accuses him of possibly being compromised by his alien tech body. Cyborg reveals in a visual flashback, which Victor walks through in his mind palace, that the Mother Box was acquired by the Allies during World War II, taken from the Nazis’ collection of occult goodies in 1944. For nearly a century, it sat undisturbed in the Department of Defense until his father Silas realized it was similar to the technology used by the Kryptonian ship in downtown Metropolis.

That’s how Silas discovered its power, and in a horrifying flashback, he uses it when he looks at his son’s body on a slab, Vic’s lower torso gone. When Silas uses the magic box on Victor, the son screams bloody murder.

It is Victor Stone who puts the pieces together for the nascent Justice League and gets the heroes to begin acting like a real team. He puts together for the others that the Mother Box can be used to bring Superman back from the dead, and projects an image of Big Boy Blue for everyone to see.

Vic leads the team into STAR Labs to do the deed. And when Silas sees his son, still not talking to him, walk by with Batman and other weirdos, Dad doesn’t call it in. In fact, Vic and Silas are why the heroes win in this version, because after the Superman resurrection is bolloxed up, and Steppenwolf arrives to retrieve the third Mother Box, rather than run away, Silas sacrifices himself by heating the box with a laser so hot, that Batman can conveniently track wherever it goes in the world.

One could argue Cyborg was the most crucial of the heroes in organizing a true team team. Well, him and the legacy of another…

Superman

One imagines Superman’s treatment by Snyder and screenwriter Chris Terrio in what we now call the Snyder Cut, and Batman v Superman before it, played a major role in Warners’ eventual lack of confidence in the filmmakers. The beginning of the Whedon Cut even starts by course correcting where Whedon might’ve thought Snyder went wrong. Hence the awkward smartphone video of Superman talking to some children with a big smile on his face (and mustache unconvincingly erased from it).

Honestly, though? The depiction of Superman in the Snyder Cut is at times quite heroic and sweet. Certainly sweeter than the abysmal “no one stays good forever in this world” line of dialogue from BvS. However, there are major caveats.

Someone who unequivocally benefits from the new version is Amy Adams’ Lois Lane. While she again has relatively little to do, the rare moments where she is on screen in the Snyder Cut count a hell of a lot more. For starters, there is a genuinely heartfelt sequence about grief—one that it’s fair to wonder if Snyder has added special emphasis to. We follow Lois as she begins her morning routine by getting out of bed, buying a cup of coffee, and going to spend an hour or so at Superman’s memorial in downtown Metropolis.

The soundtrack plays Nick Cave and the Bad Seeds’ “Distant Sky,” and the scene bleeds a dignified sorrow as Lois unfurls her umbrella in the rain and walks up to Superman’s memorial to lay flowers. The cop she gives her morning coffee to asks Miss Lane if she ever skips a day, and she says there’s nowhere else she’d rather be. This is the transition to the Superman flag in London.

Afterward Lois goes nearly two hours before appearing again in the film, while Diane Lane’s Ma Kent (who is seen early in the picture leaving home) vanishes for well over that amount of time. It makes their reunion scene in Lois’ apartment feel awkward and obligatory after such a long pause, but the restored scene is still better than the “Clark told me you were the thirstiest girl he ever met” in the Whedon Cut. At least until the Ma Kent of this scene is pointlessly revealed to be Martian Manhunter. (Sigh.) It’s almost as bad a bit of forced world-building as future Barry Allen warning Batman about Lois Lane in BvS.

Meanwhile the League all comes to the idea of resurrecting Superman at the same time, and there are no second guesses other than Alfred’s skepticism. Thus begins a resurrection sequence where it’s genuinely affecting to hear Zimmer’s Superman theme again as Kal-El’s body is placed into the Kryptonian ships goo-room. Similarly, Snyder achieves another grace moment when Lois sees Superman flying in the sky right after his resurrection. Before this moment, Lois made the decision in bed that morning for this to be the last time she’d visit and grieve Superman’s death at the memorial. We’re also teased to the fact she keeps a pregnancy test on the nightstand. So she made her final trip to his memorial.

And on the same day, Superman came back.

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Unfortunately, his return is much the same as it was in the Whedon Cut, with the gloomy gray cinematography and the outright sinister version of Superman who’s apparently forgotten his identity. In fact, he’s more menacing than the familiar footage of him smacking down Wonder Woman and Aquaman. Now he takes time to study his monument before still coldly attacking the other superheroes and using his heat ray vision to try and murder U.S. soldiers stationed by his memorial.

If not for the interference of Batman, Superman would’ve killed servicemen. For what it’s worth though, he tries to kill Batman too. Gone is the “do you bleed?” callback to the previou cut. Instead Superman uses his heat ray vision to try and cook Batman inside his own cowl—which is only stopped by Bruce’s special “energy absorption” gauntlets.

As with the Whedon Cut, Bruce’s death is prevented when Lois shows up, but now of her own volition, and she and Clark fly away to Smallville. And once there, Superman’s soul returns and we get nice Americana scenes of Clark Kent watching a butterfly land on his hand, and Lois joining him in the wheat field.

“I’ll take that as a yes,” he says of the engagement ring he planned to give her before his death, and which she keeps on her hand. Soon Ma Kent joins them and it’s a lovely moment of reconciliation with the women in his life. It’s also far more emotionally effective than the version of Lois apologizing to Clark for “not being strong” after he died in the Whedon Cut.

And yet… it’s compromised by the constant foreshadowing of another heel turn in Superman’s future. The Kryptonian ship keeps warning, pleading even, with Cyborg that there is “no turning back from this action” as he prepares to resurrect Superman. Only then does he have a vision of an evil Kal-El drifting over a smoldering Metropolis. This muddle created by these conflicting sensibilities—folksy domesticity versus foreboding doom—do not mesh. At all.

At the very least, Clark returns to the Kryptonian ship to find there was a black Superman suit hidden all along in the corner. Additionally, he hears both of his dads’ voices, Jor-El (Russell Crowe) and Pa Kent (Kevin Costner). Some of it is old audio about “they’ll join you in the sun” from Man of Steel. Some of it is new recordings, which don’t really make sense as both men are dead. But we hear Pa repeat, “Fly son” and Jor-El intone, “Love them as we loved you.”

Black-suited Superman then flies into the orbit, taking the same Christ pose he had in Man of Steel, visually suggesting the Lord is risen, hallelujah. Superman then flies to the Batcave and meets Alfred, who tells him where to go… for the end of things.

The Ending

It is the ending, when everyone comes together, where the Whedon Cut and Snyder Cut perhaps most definitively diverge. It’s still technically the same ending: the five main members of the League show up in a nondescript Russian town to fight Parademons. Superman returns at a desperate moment and they all prevent the Mother Boxes from becoming one ungodly MacGuffin that would destroy Earth, knocking Steppenwolf on his CG ass.

Yet how these elements are incorporated, and where they leave the DC Extended Universe, are like on different planes of existence. From the top, the gore level (as with the Striker Island fight) is just more extreme in the Snyder Cut. Batman shoots Parademons with his Batmobile and then later uses the aliens’ own plasma guns against them; Wonder Woman beheads and cripples more computer generated baddies than all the armies of Gondor combined. Even Aquaman’s trident tastes blood.

There is also a much stronger sense of teamwork in the Snyder Cut. Batman’s suicide play of driving headlong into carnage makes more sense in this version as he crashes his plane into one of Steppenwolf’s magical machines, which brings down a force field and lets the team enter beneath the villain’s dome. And instead of Wonder Woman coming alone to Batman’s rescue, the whole team fights alongside his Batmobile for a freeze frame worthy of a splash page. It really is bizarre that Whedon, who was so good at these kinds of images in his Avengers movies, took this one out.

Once inside Steppenwolf’s evil lair, things are also far more exciting. There are no civilians (or randomly shoehorned in Russian family) to save. But there are enormous stakes as Cyborg has to stop the Boxes by merging with them. In the process, he enters his proverbial mind palace to face the three boxes in the flesh, as they’ve turned into literal witch crones. At first they appear as his dead parents, promising mom is ready to be reunited with her “broken boy,” but it’s a ruse that torments Victor to an even greater degree.

Meanwhile Steppenwolf has opened a Boom Tube portal to Apokolips where Darkseid, DeSaad, and Granny Goodness are waiting to take over Earth and claim the Anti-Life Equation. It was always “save the world” stakes in both versions, but you actually feel them in the Snyder Cut, particularly since… the heroes fail.

In a development that maybe would’ve left a Flash solo movie with nowhere to go, Darkseid and Steppenwolf briefly win, the three Mother Boxes merging despite Cyborg’s best efforts. The world instantly begins being ripped apart by a CG blur which presumably will turn Earth into a hellscape. The Flash, who is further afield from the action and bleeding from a gruesome wound in the side of his stomach, knows he has only one choice: to run backwards in time fast enough to reverse the flow of time.

It’s a trick that is expected to play heavily in DC Films’ upcoming Flashpoint inspired film, and Barry executes it here to undo the heroes’ defeat. Running into a seeming tornado of blue computer generated lightning, Barry undoes the damage and gives Cyborg a little more time, with Superman’s help, to stop the boxes from combining.

The action prevents the world’s end and allows Aquaman to skewer Steppenwolf like a fish on a hook. In the Whedon Cut, Steppenwolf is slashed by Wonder Woman and unsatisfyingly undone by becoming so fearful that he triggers his Parademons’ scent, and they eat him alive. Essentially, it’s a dippy retread of The Lion King where Scar is devoured by his own hyenas.

While certainly more bloodthirsty, there’s no denying there’s a satisfaction in Aquaman stabbing Steppenwolf, Superman punching him, and finally Wonder Woman beheading him. That is justice for her fallen Amazonian sisters.

Afterward, the whole direction of the DCEU still pivots toward darkness in Snyder’s vision. The Boom Tube to Apokolips stays open long enough for Steppenwolf’s head to return home. Darkseid crushes it beneath his foot. He also accepts that, for whatever reason, they cannot reach Earth through the Boom Tubes due to this defeat. “We will do things the old way,” Darkseid hisses. He summons the armada to head to Earth, setting up a very different future for the DCEU.

Epilogue

Continuing on the divergent paths between the Whedon and Snyder Cuts, the epilogue of the latter (complete with a title card) essentially presents the road not taken in the DCEU. Many of the elements we saw in the Whedon Cut remain, such as Bruce and Diana opening up Wayne Manor to become the headquarters for the Justice League by building a table “with room for more;” we also see Barry tell his incarcerated Dad he got a job at the Central City crime lab; and of course there’s Superman’s beloved shirt rip.

However, there’s so much more added on by Snyder. Some of it is very intriguing, such as Diana taking the arrow from her mother and looking out at the horizon of the Aegean Sea by the Temple of the Amazons. The implication is she’s begun yearning to return home. Could this have once been the plot thread of Wonder Woman 2? Could it still become the plot thread of Wonder Woman 3?

The most effective element is, again, Cyborg as he reconstructs his father’s broken audio recording and hears Silas’ love as a “father twice over.” It’s bittersweet Victor never got to verbally reconcile with his papa, but just saying, “You’re my father” might’ve been enough.

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Yet the epilogue ultimately becomes a teaser for what Snyder’s original vision for a Justice League trilogy might’ve looked like. In the Whedon Cut, the sequence of Lex Luthor on a yacht with Deathstroke (Joe Manganiello) comes as a post-credit sequence. In the Snyder Cut, it’s part of the body of the story. The build-up to Lex’s escape is longer, and once on the yacht he has no quippy joke about “forming a league of our own.” But he does tell Deathstroke that Batman’s secret identity is Bruce Wayne.

That captures Deathstroke’s attention and seems to set up potentially catastrophic events for Bruce’s future in Affleck’s now defunct The Batman movie. It also would appear to further set up the Legion of Doom Justice League sequel with Deathstroke and Luthor.

But that’s pittance compared to the far bigger stinger for the future. In one more “Knightmare,” and another vision of a future where Darkseid has turned Earth into a Mad Max apocalypse, we once more see Affleck’s Batman as a road warrior in a desert, this time with Amber Heard’s Mera, the Flash, Deathstroke, and Cyborg as his road trip buddies. Clearly Cyborg’s vision earlier in the film came to pass, with Mera swearing she’ll kill Darkseid in order to avenge Arthur.

The biggest bombshell here though is that this is where Jared Leto reprises his performance as the Joker. I wish I could say it was better than this grubby, grinning, awkward reshoot moment where he talks about giving the Batman a reach around. Bruce’s dialogue isn’t much better as he mumbles, “When I held Harley Quinn, and she was bleeding and dying, she begged me with her last breath that when I killed you—and make no mistake I will fucking kill you—that I do it slow.”

We’re a long way from Adam West, eh? The sequence ends with Evil Superman appearing with heat ray vision, coming to kill all of them. This clearly stands as a trailer for Justice League sequels that almost certainly will never be. It’s also a vision for the Justice League trilogy Snyder originally planned with Terrio that’s making its rounds across the internet. Part III was meant to be about Batman and the Flash in the ruins of a destroyed Earth traveling back in time so Batman could make sure that Lois Lane never died—sacrificing his life so Superman never turned to evil. Again.

I can’t say this scene adds a lot to this movie, any more than the final, final tease of Harry Lennix’s Martian Manhunter showing up one more random time to give Bruce Wayne a pat on the shoulder. He says your parents would be proud of you and that he wants to join his team. Affleck’s Bruce is strangely not perplexed by any of this and gives off a general “Cool story, bro” vibe.

Martian Manhunter travels into a future we will never see, setting up a sequel that has been abandoned. It’s a shame, but it is so brazenly, defiantly Snyder’s vision—and so far removed from the Whedon Cut’s goofy ending on Superman and Flash having a happy go lucky race to the Pacific—that one can at least give this to to the director: He did it his way. There’s something to be said about that.

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The post Zack Snyder’s Justice League vs. the Whedon Cut: What are the Differences? appeared first on Den of Geek.

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[popculturebuffet]

Paul Dini’s Jingle Belle: “Sanity Clauses” review or Santa’s Court Ordered Family Therapy Holiday Special

Merry Christmas everyone! I”m finally back on the reviewing reindeer after a week out with a cold, aside from the usual ducktales review, and it’s once again a comission from friend of the blog and the only guy who pays me for reviews weirdkev27. If you have your own holliday hyjinks you’d like me to review I do reviews of television and comics for 5 dollars an episode/issue, wtih variable prices for trades in comics case depending on length. Hit me up via my dm’s here on tumblr or send me an ask for my discord if you want to know more. WIth that plug out of the way away we go.  This one was a bit unusual... in that when Kev bought it up I assumed he was going to buy a few issues of Jingle Belle, Paul Dini’s creator owned character we’re talking about today, and just have me review those. What I didn’t realize is he was buying me the full package, a collection of pretty much every jingle belle tale, as well as the released after it “Handmade’s Tale”. one shot. So yeah, while I had’nt really thought of rules for this kind of thing before from now on your free to buy a work for me to review... just keep in mind i’ts both not required for me to review something, and will not wave the commission fee as I use those fees to pay bills, buy things I need like charger cables, and just generally keep my bank account afloat while I look for a day job. 

But... since I hadn’t firmly established any of this yet, and since Kev’s gift means a bunch more commissions from a guy who not only made sure I could afford Christmas, but who has provided me steady work while i’m out of work... this one’s on the house.  So with all the jargon settled, who is Jingle Belle? Jingle Belle is an indie comics character created and owned by Paul Dini in 1998. Paul Dini is an animation god, who thanks to this review I know more about his career than I did before and as much as I always should have. Dini got his start in the 80′s, writing for everything from He Man to Gary Coleman Adventures, before getting called up to the big leagues for Tiny Tune Adventures around the time of the animation renaissance. To my shock, as  I wasn’t aware he wrote for that fine program, he wrote 35 episodes including my personal favorite Prom-ise her Anything.  But while a talented comedy writer, his main talent would show when he moved on to Batman the Animated Series as a writer and story editor. He was one of the main creative forces along with Bruce Timm, with the two going on to make the DCAU, aka some of the best superhero shows ever made, after already making easily one of if not THE best with BTAS. And Timm’s influence showed, Co-Creating Harley Quinn with Timm, and writing the series best episode Heart of Ice, which reworked Mr Freeze from a hoaky silver age villian into the tragic and thoroughly sympathetic character he’s been since that episode. Seriously that’s another one to add to the review pile.. which is giant and sentient at this point. And seriously EVERY episode on his imdb page credits is an utter classic and one I remember fondly. The guy is one of the most talented and seemingly nicest guys in the business and both the world of batman and the world of animation owe him a LOT.  So to my surprise, I found out in the 2000′s he had a comic, Jingle Belle.. then for whatever reason just never dug into it till now. But now post digging Jingle Belle is Paul Dini’s long running series of one shots and series at various companies following the adventures of Santa’s rebellious teenage-ish daughter.. techincally she’s in the 200′s but still looks and acts like a teenager. The idea came about when he got a christmas card from Stephen Speilberg, and wondered how the kids of famous folks dealt with that and if they resented their famous fathers. And whose more famous than santa?. The series spins both out of that brilliant idea and out of Dini’s love for sunday comic strips, back when the panels were larger and creators were given more freedom to go nuts, though even today i’ve seen plenty of great stuff so it’s not all lost pauly.  So in that spirit rather than one long ongoing Jingle Belle is instead a series of one shots, stories in anthologies and what have you, one and done stories more focused on the comedy. The comic has bounced around from various publishers, starting as something pitched to Oni Press, home of Scott Pilgrim and not much else, and has bounced around various publishers since, most recently ending up at IDW, where the trade i’m reading from comes from. So how does a great concept from one of the world’s most creative minds shake out? Let’s unwrap this present and find out. 

We open with an appropriately christmasy rhymey opening as we get the story of Jingle Belle: She’s the daughter of santa claus and mrs. claus, in this case the Queen of the Elves. Which isn’t established until the next story but whatever. And as you’d expect she grew up a cheery, rosey little girl who loved helpiing dad in the workshop.. then everything changed when puberty attacked. 

As you can see Jingle is now your standard Bratty Teenage Daughter sterotype. At least in this story. See this initial story feels much like a pilot: It’s clear things aren’t ironed out 100% for the idea, and i’ts more a self contained way to get across the general idea, that being Santa has a rebellious teen daughter, via what comes off as an snl skit in comic book form. THat’s not an insult, it’s a GOOD snl skit, and I am genuinely surprised only one movie company’s attempted adapting this comic: the concept is great. I’m just letting you know what i’m working with is all. 

So naturally as a high concept comedy skit, Jing soon, after sharing some cigarettes with the local eskmo boys and accidently lighting her Reindeer’s butt on fire and wrecking her sleigh and some surrounding property, Santa is at his witt’s end and we end up in family therapy. And honestly.. Santa in a family therapists office is a great concept. IT’s why I compare it to a sketch: It’s just a simple one line proposal that’s really damn funny and really damn eye catching. It’s often REALLY hard to get a good santa parody going, so I admire how well he pulled it off here.  But what really centers it is Jing giving her side, making her a bit more than the mostly one dimensional bratty rebellious daughter she’s been pegged as. Oh sure tha’ts still mostly what she is here, I’ll leave it to later stories to flesh her out hopefully, but she gives vallid reasons WHY she acts out: She points out no one even knew Santa had a daughter, and she has no songs or specials or any of that about her. The most Santa can offer up is “Jingle Bells” because the boys say “jingle all the way”... which really, especially in 2020, just makes HIM come off worse for not only slut shaming his daughter, but that the best defense he can offer is “Well some local boys talk about how you boned them that counts right?”. 

That.. poorly aged joke aside Jingle brings up another good point on how sh’es on his shit list.. errr.. naughty list. Still a good gag. And yeah the therapist is understandably surprised Santa dosen’t give his own daughter presents, though his wife does give a valid counter to that: He has to hold a higher standard than anybody. 

And that’s why I’m really intrigued by this concept and want to read more: WE have plenty of stories about Santa’s kids, i’ll grant, from him adopting a kid like in elf, to him passing on the legacy with films like Arthur Christmas and Fred Claus, or even just films about his legacy, like the Santa Claus, aka that time Santa died and his clothes forced Tim Allen into a job he dosen’t want with weight and beard gain he didn’t ask for via yuletide mummy’s curse to become the new santa and nearly loose custody of his child. What i’m saying is the concept is inherently fascinating and The Santa Clause is deeply terrifying if you stop to think about it for two seconds.. as is the sequel what with it’s Nazi Robot Santa Claus Tim Allen. Yes really. 

But this one’s unique in that it’s not about the legacy. Oh sure Santa tries to get Jing interested, and his last attempte wound up with them having to take the bus, another great gag and i’m glossing over most because this is a very funny little comic, but the main focus is more on what kind of pressure that puts on a kid: wouldn’t you rebel too if your parents wanted you to be perfect and to follow in the family business of being basically a perfect human being? Jing herself sums it up perfectly towards the end of the story. 

Granted after a tearful hug, Jing internally says “that new snowboard is mine.. but i’ts hard not to feel that a godo chunk of this is genuine. Sure she’s playing her parents a bit but.. you’d crack too if your dad was freaking Santa. I’m really intrigued to see where this goes both comedically and character stuff wise. 

So we end on another christmasy narration bit as Belle plays good for a while, snapping only when it docent seem like she gets her snowboard. A comedy ending and an eh one. Not the best honeslty, I feel the comci would’ve been better ended just at the snowboard is mine bit, but i’ve seen worse. 

Final Thoughts: A really good story. WHile it’s rough around the edges, clearly Dini and others have buffed them out over two decades, and i’m really intrigued to see more of this this holiday season and others. Again some parts, mostly playing Jing being sexually liberated for “OH HAW HAW SHE’S A SLUT” laughs is cringe inducing, but most of the jokes have aged well and for a pilot it’s not bad. I really look forward to reading more of the character and diving into her this season and beyond. 

Until then be good to one another, have a happy holidays and always remember: There's  always another rainbow. 

[goodnightallwhites]

Robbin' Robin By BlackingPacking

Robbin' Robin 

By BlackingPacking 

Submitted: November 26, 2019 Updated: November 27, 2019 

The year is 1986. Carrie Kelley is Robin, and she has a secret- she's addicted to interracial porno. Thankfully for her, she lives in just the right part of Gotham where black thugs she fantasizes about can be found 

Contains: Interracial, BBC, teen, age difference 

Request by AshuraAnderson 

Provided by Hentai Foundry. 

Chapter 1 - An Alleyway and an Addict 2 

1 - An Alleyway and an Addict 

“Caroline Keene Kelley- we need to talk!” 

Her parent’s yell from the living room scared Carrie. About once a week or so, she got in trouble with them. A normal thing for a teenager, but a stressful thing for one with a secret. 

“Coming, mom!” 

It turned out to just be her grades. Her English score had dropped below a 70, but she didn’t worry about that. She lied, saying that she’d get tutoring after school to get it up by the end of the semester. She knew her parents didn’t actually care that much. This shitty city’s education department didn’t care either. Her actual after school activities, though, were much more interesting. They were the kind she wouldn’t give up for the world. 

Those activities, not one, but two, were her secrets. Secrets that she knew, if her parents found out about, she’d be found dead in an alley, and not for the reasons she normally faced. That reason, that secret, the first one at least, was that she was Robin. She snuck out almost every night for the past couple months to fight criminals alongside Batman himself, beating criminals and terrorists. And yeah, with that huge, broad, stocky figure, square jaw, and grizzled gray hair all over his body, he was pretty hot. Even if he was four times her age. 

Her other secret was one that she was much more ashamed of, but recently, much more involved with. This was her secret collection of porno magazines she hid in a box in an AC unit atop the Kelley’s apartment building. 

She had gotten this collection of porn with her proficiency in her job as Robin. She knew where a popular porno store was near her house, so, at night, she’d often break into the store and take whatever porn she liked and get around those pesky age restrictions. She used to not pay for it, thinking that porn was gross and exploitatory. It wasn’t an industry she wanted to support. In recent weeks, though, her addiction to it drove her to leave plenty of extra money in the register so that her favorite magazines would keep coming out week after week. 

Most taboo of all were her tastes. The bespectacled sidekick found herself hopelessly addicted to a certain fetish that she hoped to high heaven nobody would find out about. A fetish that lead to her fantasizing in her bed almost every night about her virginal pussy being violated, deflowered, raped by big, strong, black men. 

She found this fetish through two monthly porno mags; Grandeur and Black Lovers. 

Grandeur was interracial based around the white girls, a taboo soft enough to get her into it. She already loved the taboo, strange appeal of older men, like Bruce, so flipping through the pages of beautiful white women with exclusively men, often larger, savage men, of other races was thrilling for the sheltered teen. 

These men were sometimes native american, and at least once or twice asian, but at least 80% of the time, they were black. She’d heard from school, rumors of how black guys always had bigger dicks, how ‘BBC’ was a different league, but she and so many other girls didn’t really care. Constant exposure to these porno mags, though, had made her doped out mind think differently. 

That’s how she got into Black Lovers. It was an exclusively BMWF mag, pages consisting partially of porn shoots of black men and white women, plenty penetrative. Most of its inner pages, when not covered in ads, were size comparisons, showing just how massive black dicks were compared to the white starlets, or white guy’s dicks. 

Carrie’s favorite, though, were the stories. Black Lovers published reader-submitted stories in a couple of pages every month, which were always a delight to read. Most were from a woman’s perspective, how a strong, hairy, deep-voiced black man fucked them better than they ever had before. On her marital bed, in a car, on her desk. Carrie dreamed of one day getting published, but she wasn’t a writer. Hence the English grade. One day though... 

After promising to get said English grade up, Carrie once again snuck out, though not in her Robin costume. She went a few stories above her apartment, grabbing her box of porno magazines. She hadn’t finished the latest issue of Black Lovers yet, so she took that one with her as she returned to her room through the window of the fire escape. She hid it under her bed until all the lights outside her door turned off. Then she struck. 

Carrie had gotten into the habit of sleeping naked. She liked feeling her nude, budding tits rub against she sheets, or how her fiery orange bush above her pussy breathed in the free air. And it was easier to masturbate that way. Even when she wasn’t flipping through a porno mag, she was flicking her bean to the nastiest of thoughts her brain could think up. Her favorite fantasies were all about her getting gangbanged in an alley by a bunch of thugs. 

She imagined them tearing off her clothes, or even better, her Robin costume, and fucking her in every hole without a care if it hurt her or not. The more they hurt her and the more they stretched out her throat, pussy, and asshole, the harder she came. When this started, she was fingering herself with 2 or 3 fingers. These fantasies had more and more black guys in them every night. Now she was fingering her cunt with 4 fingers, with her thumb drilling into her clit until she wet the bedsheets. Her mom hadn’t mentioned how the covers were sopping wet every morning. Yet. 

While she fantasized about anal, she didn’t usually do it in bed or while she was reading 

porno mags. Sometimes, when she had 3 fingers sliding in and out of her, her pinkie would find its way down to her taint and graze her anus just a bit. She loved it, but was a little grossed out by the idea of sticking her fingers in that hole. Especially in the same bed she slept in. 

The shower was a different story though. Her bathroom was right next to her room in the hallway, with a bathtub and shower combo that was all hers.Carrie took very long showers. You can probably imagine why. She’d take off her glasses, wet her thick head of hair and her thinner bush, and then spend most of her bath masturbating. She used the showerhead to massage her pussy to orgasm. Sometimes she’d use little bottles of soap or lotion as toys to fill her slutty holes. A few were big enough to hurt, just how she liked it. With plenty of lotions, maybe every other shower or so, she felt the desire for anal masturbation. She lubed up her already wet, pink asshole, and spread apart her pale, freckled cheeks to expose her butt to imaginary men. She’d finger her ass while pressing her face against the side of the shower. It was cold, but the fingers up her butt made her hot all over. She’d even use those bottles to fuck her asshole. She started with smaller bottles and usually worked her way up to the big ones. Her butt couldn’t stretch as much as her cunt, but she still wanted it fucked by huge cocks. Especially black cocks. 

Whenever she moaned in the shower, the water poured over her face and lips. Neither of her parents had heard her lustful sounds, that she knew of. She loved stepping out of the shower butt-naked without a towel just after cumming. Her favorite was, of course, cumming once fingering her pussy and once fucking her own ass. The way her fluids joined the shower water as they dripped down the sides of her legs in the steamy room, or how her hard-candy nipples shook in the foggy mirror when she looked at herself, all made her want to go again. That was why she showered at night. 

After drying off, Carrie would go to ‘bed’. She really went under it, picking up whatever hidden mag she wanted to diddle herself to that night. Next to her window, she had a small collection of pillows, blankets, and cushions. She used this to lay on while she masturbated to moonlit pages of the sluttiest, nastiest porno mags that were her addiction. Tonight was no different. She looked at the front cover, lit up by Gotham’s bright city lights and the moon. No bat signal tonight. The cover showed a woman gasping while holding a black dick that was as long as her arm. 

God, they were huge. Though she’d been masturbating almost exclusively to BBC for weeks, Carrie was still amazed by the size every time. She flipped through the mag clumsily, as one of her hands was occupied with humping her bushy crotch. She saw a three-panel photoshoot with a huge black dick being taken out of a guy’s pants. The frizzy haired starlet was amazed, with wide eyes and a wider mouth. Next, a motion-blurred shot of his dick dropping down onto her belly, right above the golden-brown bush that was as curly as her hair. Lastly, a slow-motion shot of how her stomach, thighs, and big, round rippled when his 

huge dick landed on her crotch. Carrie was envious for more than one reason. 

She wanted to continue, flipping the pages, but her right had had 3 fingers knuckle deep in her pussy, with her palm grinding against her clitoris. Her left hand was less dexterous, and she dropped the magazine on her small tits. 

Shifting her body up, she picked up the magazine by the back page, and saw something on it- BUY THE NEXT ISSUE NOV 27. Wait- that was today! 

She wondered what happened to the time- had it really been a whole month since this thing came out? It wasn’t like she could just go down to the porno store and ask. Still, even if they didn’t have the new issue yet, there was no harm in going to check. She could browse the other mags, and she wasn’t gonna go on patrol tonight anyways. 

She decided to put on her skimpy Robin costume, grab some cash, and head out. Even if they didn’t have a new Black Lovers, she didn’t have to make herself squirt to BBC and BBC alone. 

She raised her grappling hook to the sky and shot it to the tall building across the way. It landed, so she jumped off the fire escape. Her thin, pale legs shivered in the cold air despite her hot arousal. She could feel her damp bush inside her green, almost-nothing mini hot pants, with her ass even more exposed. Her cape fluttered behind her, choking her just a tiny bit. She liked that. 

God she was so turned on, so hopelessly aroused. She was dripping wet inside her trunks. She wouldn’t be surprised if strands of pussy juice flew out from between her legs as she swung around the city. If only she could just touch herself. 

Wait. Why couldn’t she? It had never really occurred to her to shove her hand down her trunks and finger herself while swinging around from her grapple line, but there was really no reason not to. She had thought about being able to actually fly, and how she’d definitely finger herself in midair if she got that chance. It seemed stupid how obvious it was that she had been getting the chance. 

So, with a few grapples to the tallest building in this part of town, she swung up over ten stories with one arm. The other hand, with her glove peeled off and fingers rather chilly, dove down into her pants to finally stroke at her burning slit. 

“UUhhhh!” she moaned, closing her eyes behind her green glasses. It felt so, so so good. She might fucking cum on the spot, she felt so lewd. The taboo of fingering her pussy, her melting juices pouring over and warming her cold fingers, all while flying around an apartment building filled with people, was incredible. She wouldn’t have to go to the porno store if she fingered herself like this. 

In a second, her mind was filled once again with the grossest, dirtiest thoughts that her pussy loved. She wanted to finger herself on patrol, right behind Batman’s back. After beating some punk, she’d fingerfuck her cunt right in front of them. She could squirt her sweet clit juices over the edge of a skyscraper, or play with her asshole in front of a window with some old corporate executives watching. 

Before she could really get into that weird shit, she realized what was actually happening. 

She was falling. 

“Shit!” she shouted, struggling to tear her left hand out of her shorts as her right fumbled with the grappling hook. To get it out, she pulled away from the tight fabric as hard as she could. Her hand came free. With a loud RIIIIIIP though, the trunks tore too. Her pussy, its juicy wetness all on her crotch and in her forest of hair, was now exposed to the outside. The wind made her juices run down her quivering slit. She nearly forgot that she was falling. 

Just before she hit the ground, she caught herself on the grappling hook, saving her. She landed on the ground, in a dark, dirty alleyway. She stumbled as her feet hit the ground. She dropped the grappling hook and fell, tumbling over before landing face up, legs spread, and pussy exposed. 

“Hey hey hey, what’ve we got here?” Came a rough, deep voice, turning the corner into the alley behind her. 

Carrie’s eyes flicked open. For a second, she was terrified. Judging by the shuffling of feet, there were several men approaching her. Her! A skinny, disoriented teenage girl with torn panties and an exposed pussy. 

Then a wave of heat rushed over her. And she remembered how horny she was. Suddenly, as her pussy started aggressively dripping again, as her ovulating insides churned, as her asshole’s pucker twitched, she started hoping that they weren’t walking towards her to be friendly. 

“Hey lil girl,” a man said, toothily smiling above her, “cute getup. Why you streakin’ out on a cold night like this?” He was lean and gangly, looking mean and strong, and- oh god 

He was black! 

Walking up to her on either side were two more black guys. One was overweight, wearing a ratty coat with a fluffy collar and some gold bling. The other was tall, bald, bearded, and hugely muscled, wearing a black tank top despite the November air. 

“Yeah babe, it’s so cold. Wanna get nice and warm?” said the muscular one, rubbing his hands together. The fat one just whistled. 

“Hey, watch it,” said the lean one, “She looks young. Besides, you know about those white bitches. Go even a bit too far ‘n they’ll say you raped ‘em.” 

“Aw, come on, man,” said the fat one, lipping his disgusting lips that Carrie desperately wanted around hers. Or even better, her pussy and her ass. “She’s a hooker dressed like Batman’s sidekick.” 

“She looks like she fell- needs a big man to help her up,” grinned the muscular one, “Tell me babe- how much for a few minutes in those warm lil buns of yours? It gets so cold out here,” he kneeled down beside her. 

“I got more cash than both of these chumps combined,” the fat one smiled, pulling a full wallet out of his jacket, “So how much for a few hours back at my place?” 

God. Carrie wasn’t sure how they couldn’t tell how fucking soaked she was. She felt like her cunt was a waterfall pouring onto the pavement. She knew that, although her asscheeks were once cold, her juices had pooled around them enough to heat those pale little circles up. There was nothing she wanted more than these gross, rude, misogynistic black thug’s cocks. 

“No money,” she blurted, putting her hands over her crotch and closing her legs. She rolled them around a little, showing the muscular one the outline of her wet ass, “Y-you can fuck me for free,” she smiled weakly. 

The lean one looked around. “You serious?” 

Carrie squeezed her legs tighter, trying to stop the unending flow of fluids from her cunt. She raised her knees up, making a juicy squelch sound. “Yes! Please, please, please fuck me! I’m...” she turned bright red. “I’m so horny...” 

“Mmmm,” groaned the fat one, stepping up front, adjusting a huge bulge in his pants, “And why do you wanna fuck us, lil girl?” 

“B-because,” she felt unusually shy, “I can’t say it,” she whispered. 

“C’mon, bitch,” The fat one bent over and picked her up by her bare arm. She struggled to stand on her jelly legs. “Say it!” 

She looked at his face. Into his eyes. Most of his hair was gray, or at least salt and peppered. His eyes had an experienced and mean look. He may have been fat, but he wasn’t lazy. He 

was a career criminal, and a good one at that. And tonight, he’d help steal something from her she’d never be able to get back. It was like a dream come true. A dream cum true. 

“B-because I want your... your big, black, cocks to take my virginity.” 

All three of them whistled. The muscular one came up behind her, slapping her ass with a firm grasp. His hand easily held her entire asscheek. He ripped off what was left of her trunks and slid his pinky into her ass crack, saying, “That’s what we like to hear.” 

“Ey what’s your name, sexy girl?” asked the lean one. 

“Um, Carrie,” she said. They didn’t think she was actually Robin, so she figured she’d be safe. “But... I want you to call me slut,” she looked up at him with big doe eyes, her two front teeth visible under her pouty lips. 

“Slut it is then,” he smiled, running his grimy fingers through her hair. She closed her eyes and leaned her head back, loving it. The muscular one grabbed her other asscheek. He spread them both apart and started grinding against her butt. The fat one, meanwhile, ran his ringed fingers through her curly red pubes before feeling her most sensitive part. Her stickiness immediately clung to his fingers. 

“Holy hell, you are wet.” 

“Hey- you said you were a virgin,” said the lean one, feeling her face and neck. Her mouth opened wide and she stuck her tongue out. “How old are you?” 

She turned even brighter red at that, “Probably about as old as you think.” 

“Holy shit,” he laughed. 

“We gonna get some jailbait tonight, boys?” smiled the muscular one as he slapped her ass, making her moan like a puppy. Like a bitch. 

“I think so,” said the fat one, undoing his pants. The others did the same. 

Carrie’s whole body was burning up now. She got on her knees, kneeling on the cold alley’s ground as they pulled out their huge black dicks. Right in front of her. She pinched herself. Not dreaming. She’d have to get one of them to slap her silly just to make sure though. 

She licked her lips, heart pounding, as she saw those half-hard dark snakes slide out of their pants. The smallest was the lean guy, if it could be called small. It had to be at least the length going to her elbow to her wrist, thin and round and covered in wrinkly veins. Next up was the muscular one, pulling out a cock that may have been a bit longer, but was much 

thicker, with a round, fat knot in the middle before his purple head flared up. It was smooth, and his skin was the lightest of all the three, but the richest brown. He stroked it off, wet precum making the chocolatey rod look shiny and tasty. She couldn’t wait to have that thing shoved inside her. It didn’t matter where. 

Lastly was the leader’s cock. The fat black man pulled his baggy pants down over his powerful, hairy thighs, and pulled out a huge black mamba that terrified Carrie and made her drip like a faucet. It was longer than the distance from her fingertips to her elbow, and it wasn’t even fully hard yet. It was dark, darker than night, and curved like some monstrosity that she was sure couldn’t fit inside her. She couldn’t wait to try though. 

“You’re- you’re all so big” she muttered. 

“You got what you wanted, didn’t you?” asked the lean one, shifting his big round balls, hanging from an ashy, wrinkled sack that Carrie was excited to moisturize. 

“Yeah- but I’ve never even seen a dick in real life. Or given a blowjob” hell, she hadn’t even kissed a guy. But she was more confident now. She went to a shitty school and her parents didn’t much bother with her. She definitely knew people who did worse than this. This wasn’t really that bad- 

Ah, screw it. It was fucked up to all hell. And it felt so fuc-king good. 

“Well, you better learn fast,” he grinned. 

She couldn’t agree more. She grabbed the shiny, milk chocolate balls of the muscular one with one hand and cupped the saggier ones on the fat one with the other, massing them in her small hands. Her head leaned forward and Carrie had her first kiss ever with the dickhole of an older black street rat’s massive cock. 

Her tongue came out, licking up his black flesh, tasting it. She was a picky eater, but the unsavory taste didn’t make her stop. Her pussy dripped with every inch of pitch black dick she lapped at. She wouldn’t stop drooling either. She just had to coax his smooth head out of his ashy foreskin. Once she did that, she gulped, opened her mouth as far as it possibly could, and sunk down on almost all of his huge black dick. 

A few inches before her full, pale lips pressed against his pubes, she stopped. She couldn’t go any further. Her throat, even though the cock wasn’t even halfway down her neck, felt beyond stuffed. She couldn’t breath. Her red face turned purple as she gagged on it. Her pussy just got wetter. 

She pulled off his dick, gasping as tendrils of spit stuck to his length. Instead of just massaging the other’s balls, she moved to jacking them off. It wasn’t easy, as both dicks 

were very different. The fat one’s was much longer, and even though it was skinnier, she still couldn’t fit her whole hand around it. The muscular one’s was thicker, and Carrie couldn’t even fit her hand around half of it at its widest point. Each hand had to work independently to stroke their cocks off well. Carrie was humiliated by her clumsiness. They thought it was hot. 

She sucked and jerked. Her wet mouth bobbed on his dick over and over again. She made especially sure to soak his dick with spit every time she came off of it. All his exposed skin, from his sinewy crotch to his solid dick to his hanging nuts were covered in her warm saliva. Eventually she got so turned on she couldn’t help but stay on his dick, barely moving up and down so that his cock could fill her throat as much as possible. The first of her holes had been empty for too long. 

“Hey, it’s cold out here, why don’t you warm us up too, girly?” asked the fat one. 

Carrie looked up at him. If his dick had been significantly thinner, her cheeks would be hollowed out, but this guy totally filled her mouth. So she looked at him with stretched lips more than halfway down his dick. Her eyes hurt with how much she had to turn them to look at him, but she couldn’t move her head. His dick was too far into her neck for that. 

Reluctantly, she peeled off his cock. It couldn’t even be seen through the copious saliva Carrie left over on it. She was shocked that her mouth was that juicy, but a little proud. It didn’t even compare to her pussy, after all. And it just meant she had plenty more to suck the other dicks. 

Pettily upset about the fat one demanding she get off this guy’s cock, she chose to service the muscular one’s bulging, veiny, rotund cock next. She waddled over to him on her knees. She had to let go of the other cock to pick up this massive, chocolaty manhood. It hung down like a wrecking ball from his crotch. It matched his pendulous balls. As she lifted it up, it twitched, instantly becoming rock hard. 

Her eyes, with glasses askew, stared as his veins pumped. He took a step forward, letting it slap her gently across the face. The heated black cock pressed against her lips and nose, its musky smell filling up her nostrils. Her pussy sparked, another flood of juices pouring onto the concrete. 

Carrie had, once or twice, came without touching herself. She still used her fingers to get wet, but once she was there, she stopped. After a few minutes of using her imagination, she felt her clit snap to attention, the insides of her cunny contract, and a flow of orgasmic juice come out. That was then. Now, she would easily cum before they even penetrated her pussy or ass. 

Carrie kissed it gently, relishing the feeling of the soft dark skin against her lips, then brought her hands up and began to massage the massive cock as she stroked it with her flickering 

tongue. Her little pink tongue ran up and down his cock, over the curves and fat veins, all the way to his hugely muscled crotch. She pulled up, doing it again. Her wet tongue got the half of it that her hand couldn’t reach, until she was all the way up. Head-on, she faced is girthy cock. 

Before she could even do anything, the thoughts of how many things she could do to this dick, and how many things this dick could do to her, made her shudder. She shook and quaked. And then, she came. 

Like honey from a bottle, hot fluid dripped down between her legs. It felt like her whole, hot, fertile reproductive system was turning inside out. She fell. Her face collapsed onto his crotch. His cock got in her hair and her mouth was buried in his scrotum. “I’m cumming!” she yelled with her hands quickly diving down to try and gather some of her precious syrup. She tried to hold it in, or at least push it back up against her crotch, her soaked bush, or her tummy. It was the best orgasm she’d ever had. 

“Damn bitch, cumming already?” asked the muscled one has he peeled her drooling, slack face from his dick and balls. 

“Fuck this,” said the fat one, “She already came and I still haven’t gotten any action! How about you two get to fuck her while she sucks this baby off,” he said, holding his massive snake of a cock. 

“Fine by me,” said the lean one, ��but first- bring her over here” 

The muscular pulled her up by her arm again. This time, her pale limb was hotter and more jellylike than before. As she was pulled aside, she muttered something about Batman, and her parents. None of the men cared. 

The lean one grabbed her and groped her breasts, feeling the braless baggies under her Robin top. Then he put his fingers in the seam, digging them under the yellow straps, and ripped her costume in two. Her nipples were hard by both the cold and her arousal. She was already close to cumming again. The lean one showed how close he was by jerking off his soaking, gluey dick. With every pump, her fluid was shot back onto her bare face and chest off of his lengthy cock by his huge had. 

Soon, he was cumming too. His swinging cock stiffened into place, the huge knob quaking as the tube on its underside swelled with oncoming cum. With an aggressive “Yeah, jailbait lil bitch!”, he dumped his huge load on her torn costume and all over her tits. 

She loved it, but only wished that it was on her face or in her mouth. Even better, in or on her pussy or asscrack. She didn’t voice her complaints though. Instead she just slapped her hands on the sticky goo, letting them swim in her chest’s new white coating. She smiled with 

pearly teeth and raised her hands to lick her palms clean off. 

Before she knew it the lean one was behind her. The muscular one was grabbing her ass too, spanking her where her green spanks used to be. “Clean my homie’s nut up. I don’t want it getting anywhere while I’m fucking you cunt.” 

Overjoyed by the prospect of fucking his huge, rich, black cock, she very quickly stopped all the running strands of the cum on her stomach. Her soft, white palms lead them up to their origin until they were filled with huge puddles of spunk. She happily slurped every last drop down. 

Then came the fun part. The muscular one got in front of her, between her and the fat one, and got down on the grimy sidewalk. He pulled her down too, drawing the young girl into her second kiss, and last as a virgin. It was unexpected, but warm and very, very hot. Their tongues frenched, even though Carrie had no idea how to French. She thought she was in love. 

She paused when she felt his swollen cock throb against her pussy. Its shaft clung to her pussy hairs with their forest full of wetness. “I’m gonna fuck you now, babe. You want that?” 

“Yes,” she cooed, moaning like a baby bird, “P-please fuck my pussy.” 

“I’ll fuck up your pussy,” his square, bearded face grinned. She smelled his breath, his sole golden tooth. She wanted to keep kissing him. 

The fat leader had other plans though. He grabbed her by her hair. It was damp from sweat and her spit from the muscular one’s cock. With his other hand, he held his cock at its midpoint. The huge thing flopped out of his hand, with its weight making it dip down on either side. “You’re gonna suck this.” He said. It wasn’t even a demand. He was just telling it like it is. She wanted black cock more than anything. The only thing that could challenge that was wanting black lips. 

“Black... Mamba” she said with a delirious smile. 

“Aww, we got a jungle explorer here,” he smiled back, “You got jungle fever, babe?” 

She nodded aggressively, but his wide, strong hands held her chin to steady her as his cock got harder. He used it enough to know where it would be when it was erect. Sure enough, it’s tip, as black as the night, ended up right at her lips. He rolled up his sleeves to show arms that were more muscular than fat, scaring her. It just made her pussy get wetter as it massaged the muscular one’s cock. 

Without more instructions, she leaned into her next meal. She had to practically unhinge her 

jaw to get around it, but with enough lust, she fit her mouth around his bulby black head. Her mouth instantly drooled up. Saliva poured over his dick like her mouth was a pussy trying to self-lubricate. With how much pleasure she got, it might as well have been. With this, he snaked his massive dick down her throat. 

Next came the muscular one’s pussy fuck. From under her open shirt, he grabbed her waist with hands wide enough to touch both her pelvis and her skinny ribs. As he raised her up, she felt very scrawny compared to the bulbous thing she felt against her stomach, even though she was looking down the barrel of the fat one’s cock. 

The muscular one’s dick rose up with her tiny body. Soon it was positioned right in front of the straight line her skinny crotch made when she spread her legs wide. She had too to fit her legs around his strapping thighs. From both the feel of his round tip push against her box and the black snake that was drilling her windpipe, she choked. She was overwhelmed and totally out of her element, being used by guys totally out of this little white girl’s league. She loved it.With a proud grunt, the one beneath her slammed his cock, all its length and girth, into her pussy. Thanks to it being soaked from hours of wetness, her pussy let his dick easily slip into it. He was surprised, but didn’t get distracted. He started thrusting powerfully. The slams of his godly hips made her whole body shake and jiggle. 

Her lustful hormones got even more overwhelmed by how he piped her pussy. Her gagging got worse, and her eyes rolled back in her head. Carrie was at her lowest point, in a dirty alleyway being robbed of her virginity and painfully doubly penetrated by black thugs at least twice her age that she just met. She’d never felt better in her life. And it wasn’t over yet. 

Ready to go again, the lean one got on top of her. He her shaking, sweaty ass globes with his steady hands. She wanted to open her mouth to protest, but when she opened it just a bit wider, the fat one just slammed his dick even further down her esophagus. 

The lean black man pushed his vein-crossed dick up into the slippery hotness of her asscrack. He ran it up and down, giving himself an assjob with her cheeks. Once precum started flowing from his tip, he knew he was ready to destroy this virginal asshole. She was ready too. At least, ready as she’d ever be to fit two oversized dicks in her totally virgin pussy and ass. 

He spread her tight ass open as far as he could. His rough thumbs left the sputtering little opening of her ass just wide enough for him to dig his cock into it. And that he did, dropping his long cock into her asshole, anally penetrating her with something bigger than she could ever dream of taking. 

This was it for her. She opened her mouth again to scream. This time, the fat one had finally 

piped all of his cock into her facehole as possible, its head throbbing around near her stomach. While she only screamed into his balls, she screamed. She was in pleasure and pain, feeling a third black cock absolutely stuff her. It pushed against the muscular one’s dick from the other side of her taint. The whole thing rearranged her guts, slamming flat the twists and turns of her intestines. It fucked her harder than she could ever have dreamed of. 

So she came harder than she ever could have dreamed of. 

It was as thick and powerful as a guy’s cum (well, not these guys). She squirted thick liquids onto the muscular one’s abs. Plenty of girl cum flew out the back too. Her pussy juices got all over the lean one’s legs and the concrete. She just hoped to God there was more to come. More to cum. 

After that orgasm, she wasn’t tired. It was like water on an oil fire. She wanted black cock more than ever, and got exactly what she wanted in the most extreme way in that alley. Every single hole, all of her fuckable orifices, were filled to the brim with big black dicks. She would never think the same about a group of black criminals she and Batman took down. She’d never see a pair of muggers in a corner without imagining them spit roasting her. And she was okay with that. 

She could hardly remember what came next. She knew they fucked her dirty holes for a long, long time. 

She remembered how the first time the fat one came, she felt like she was so full she’d throw up his cum. That was, until he shoved his cock right back down in her. He every inch of her throat with a thick layer of tasty black cum, until she was practically inhaling his fat spunk. The last time he came, he shot it all over her face, drenching her hair and eyeglasses in gallons of his cum. 

She remembered the muscular one first cumming so hard that it ricocheted back out of her pussy, landing with a plop onto the concrete. The next two or three, though, came right inside her deep, violated, fertile pussy. A part of her hoped he got her pregnant. 

She remembered the lean one, who had been the only one to cum while she was still a virgin, fucked her dirty ass well enough to make up for it. He filled every fold of her guts up with his nut in a buttfuck like she’d only had in the dreams she hoped her parents didn’t hear. 

Lastly, she remembered how hard she came. Every time one of them came, she came. Eventually, it felt like she would shake with cum every time they thrusted, until she couldn’t cum anymore. By the time they left her, she had thick cum pouring from every hole. She didn’t remember them leaving her. It was well past midnight. She didn’t remember how she got home either. Her ultimate fear was that Batman took her there, but even that was kinda hot. 

Carrie definitely did remember though, how every night from then on, Robin would be on the lookout for some black cock to warm her up in this wintry shithole of a city. 

[victoriousscarf]

For the impression meme : Dick Grayson; Damian Wayne

(I tried to insert this picture later in the post but honestly it makes such a good header for me babbling about Dick so I’m leaving it where it is even tho this was an ACCIDENT) 

Dick Grayson:

First impressionLike, I know I watched the old animated Bats show and watched the movies etc so probably the first real time I went “Dick Grayson is a character” was the Val Kilmer movie which like, kill me. 

But honestly the first time reading comics I remember sitting up and going oh this is a character, this is a person and I’m SO INTERESTED was reading Hush (again, good/terrible comic to read early) which means Jim Lee’s beautiful art (I may disagree with 90% of anything that man says or does and would like him to retire from DC as editor but man I can admit he draws so PRETTY) 

Yeah like that panel. And his snark about maybe this time the Joker won’t break out from Arkham for at least a month this time. 

And I was like yeah okay. This is good. Let me go add Nightwing comics to my massive library request list (All the librarians knew my name pretty fast okay)

Impression now

My FAVORITE. Like no I’m serious, he’s right up there with Luke Skywalker as all time favorite characters. And also this is why I’m so damned picky with him as a character because at his core, I think he’s an inherently optimistic character, not because he’s naive or stupid or sheltered, because he’s not. But despite the terrible things that have happened to him, and in fact despite his own nature (his temper, his distrust, his workaholic tendencies) and despite the terrible things that have happened to him over and over and over again, he still makes the conscious CHOICE to believe in goodness, in kindness and compassion, in the world being a better place. (And honestly he’s a lot like Luke “I am a Jedi like my Father Before me” Skywalker in this way). He’s still flawed, as I said he has such a temper, and is about as distrustful of people as Bruce is. But he can BUILD trust with people (unlike Bruce for like the majority of people) and everyone loves him for it. The superhero community trusts him in ways they don’t trust Bruce Wayne (which is fair considering how often Bruce like causes destruction simply due to his own massive trust issues, like the Tower of Babylon and Brother Eye). And yeah okay he’s my favorite, but there’s also this view of Dick in fandom and even the more recent writers that strips a lot of this complexity and shrewdness and leadership from him. And so like in current pre-Rebirth (I’ve been waiting for rebirth to settle a lot more than venturing in there) my impression is not great. And i dread what’s coming both there and in larger media. Favorite momentAh damn like where would I even start.

Like it’s sad that in some ways my favorite moment dealing with him ever actually doesn’t even feature him in it, and it’s Bruce talked with Earth 2 Superman and Supes saying that their world was so corrupt, so dark, so tainted compared to his and he couldn’t understand why this world survived when his own had been destroyed when it was much gooder and Bruce looks at him and you can tell he’s wondering that too and then he goes okay but what about Dick Grayson and Supes sorta goes eh? and Bruce is like if everything is so much worse here, is Dick Grayson tainted and corrupted compared to yours? And Earth 2 Superman says no, no he’s still good, and Bats goes great and fights him. You get the implication that if that hadn’t been the answer, Bruce might have been as willing to give up on this world as that Supes but no, Dick still was the same shining bright light, still such goodness in a dark world and that made the whole world worth fighting for. LIKE KILL ME. Kill me. 

And honestly I still love Dick being so good that even when all the other teen titans were down and Slade Wilson charges into his apartment even out of costume and with no warning Dick manages to jump out his window and escape where the element of surprise pretty much took down the rest of the team. That’s a classic. 

Idea for a story

I’m a sucker for aus, especially aus where the DCU is more or less the same expect Bruce didn’t raise Dick. There was one scan I found where an alternate Dick was raised by Zucco and honestly that haunts me to this day. Or a novel length exposition of the time he was a vampire hunter and Batman was a vampire who killed his parents and it ends with them being together in the night… forever. LIKE THESE ARE CANON AUS give me more of that weirdness. (A lot of Batman elseworld stories that are canon sorta downplay Dick and what I’m saying is don’t. Upplay him like crazy and how he effects Bruce at ever turn, in every world, how all the Robins exist with him through time)Unpopular opinionI hate him and Barbara. I mean, with caveats but I can’t ship it. Partly because I really got into comics around the time of Infinite Crisis, so when Barbara was blaming him for being sexually assaulted, (And there’s a lot of baggage in there because the author at the time was refusing to acknowledge it was rape so like there’s no way to deal with the aftermath of that if you’re not even saying it happened) he cheated on her (what) and I’m pretty sure they were engaged just in time for shit to totally blow up. And then we fast forwarded to one year later and like this stuff didn’t really come up or get worked through? But yeah it was just a period where i found them really messed up and unhappy with how it was written and all the new 52 stuff makes me want to scream and possibly tear my hair out.

Like okay the one time I really liked them was like in the 70s during Batman Family where like she has a phd and was at a congressional hearing and Dick came along as her assistant? Like, that was fun and cute and I really liked their dynamic. Modern comics? Not so much. Favorite relationship…. Yeah Dick and Bruce man. I’m reading this not as a romantic relationship but in GENERAL of any relationships ever nothing has driven my love for DC quite like Bruce Wayne and Dick Grayson and their clusterfuck of emotions about each other, the fact that no matter how or in what manner, they are fucked up in love with each other and it is incredibly destructive to both of them. They can’t like settle down and just care, because of who they are they’re constantly butting into and hurting each other and yet at the end of the day they are still the most important to each other. Favorite headcanonDick is demi sexual fight me. 

Damian Wayne

First impression

Okay I read Batman and Son like when it first came out in trade, having NO CLUE who Damian was gonna be, or how his arc was gonna play out so like my first memory is him kicking Tim through the fucking cases and going WHAT IS THIS. Like, I was pretty peeved when he showed up. I was like ugh, of course Bruce having a biological son had to happen sometime and yeah Talia, because Son of the Demon but uuuugh. That was to change. Impression nowHe is precious and must be protected, 11/10Favorite momentI mean, there’s a lot. But one panel that always sorta stood out to me was the time that Hush got plastic surgery to look like Bruce Wayne and confronted Dick and Damian like that. And there’s just this panel of Damian, barely coming up halfway Dick’s chest, putting himself between Dick and Hush like hell yes I will take you on, how dare you. And how protective of Dick it was, even though Dick was Batman and he was Robin, that didn’t even matter. 

So yeah that one panel stands out because it encompasses so much but I also love every time he loves an animal more than most humans. Idea for a storyIdk, I really like future Batman Damian again, as Morrison introduced him a couple times, including in Multiversity. I’d really be interested in the downright apocalyptic future he becomes Batman in and how the batfam backs him up, and how he creates his own because as much as his father, he cannot really work totally alone.  

Alternatively he and Billy Baston go on a series of misadventures and it’s as terrible as that sounds like it should be but also GREAT

Unpopular opinion… It’s really funny I can instantly pin down things I disagree with fandom on with Dick Grayson but so rarely with other characters. Idk? I love him? 

I guess a thing I’ve seen a lot is people not really exploring how he will change as he gets older and just sorta transpose how he is currently on his future self and obviously he’s going to grow up a lot and change and I don’t see that coming up a lot whereas I’m like super excited to see him grow up/explore him grown up in fics. Favorite relationship*Sigh* Well obviously Dick and Damian. I mean, again, this doesn’t even have to run romantically, I just loved their dynamic under Morrison. I loved the switch of Batman and Robin where Dick, who was the brightest Robin became the dark knight, with a little nugget of rage as his Robin. I still love that comics cares about them together but I feel like a lot of their later interactions misses the edge Morrison gave them. Favorite headcanon

Him and Connor Hawke hang out a lot and go to vegetarian restaurants and bookstores together and have very philosophical conversations about religion and art and literature and faith and how they view being heroes (and Damian coping with his past vs Connor growing up in a monastery) and what their fathers mean to them. 

Damian is very protective of Connor is what I’m saying, he’s the only intelligent conversation he gets sometimes. (Sometimes, way down the road, Jason joins them for bookstore excursions, looking for first editions to send Alfred and Damian is sorta pissy but he’s grown, he can handle this)