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graysoncritic · 11 months ago

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

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

Out of this entire essay, this was the section that I considered cutting entirely. After all, in the past there have been instances when Barbara Gordon and her romance with Dick Grayson have been weaponized by Taylor and his fans against his critics.

The example that comes to mind was when Taylor and Redondo were criticized for not including Duke in a Nightwing cover that parodied The Brady Bunch.

(Taylor, Tom, writer. Redondo, Bruno, illustrator. Battle for Bludhaven’s Heart Finale. Nightwing: Rebirth. 96, e-book ed. DC Comics, 2022)

Personally, I believe that, while discussions of how Duke’s positioning in the Bat Family is warranted, the matter was blown out of proportion, and many of the attempts to cancel Taylor crossed the line into harassment (make no mistake, while I believe him to be a terrible writer, I do not wish him any ill-will). That being said, Taylor also escalated the matters when attempting to pin said negative comments onto DickKory shippers who did not like that he wrote DickBabs.

(While the original Tweet has since been deleted, the screenshot used is available in this tweet

Neb | 🏳️‍🌈 [@NebsGoodTakes]. Twitter, 20 June 2022, https://twitter.com/NebsGoodTakes/status/1538939571789934593)

For this reason and this reason alone, I considered removing this part of the essay. While I have no idea if anyone will read this monstrosity, I did not want my arguments to be invalidated simply because I did not have a favorable opinion on the DickBabs.

However, after much consideration and numerous discussions with other Dick Grayson fans, I found that the subject of Barbara Gordon’s portrayal in this run (as well as in many recent DC media), and her romance with Dick perfectly embodies many of ideas I wish to explore in this essay — mainly, how shallow approaches to progress ideals create deeply problematic narratives that not only undermines the themes of a story, but they also destroy characterization.

I will start by once again stating that I do not believe this is a problem unique to Taylor’s writing. As I alluded to above, I believe DC’s modern portrayal of Babs does a great disservice to her wonderful, empowering, complex character. This is but the analysis of one of the stories she appears in. It is my hope to prove that in Taylor’s Nightwing, Barbara Gordon is not written as a woman with a strong sense of self and an internal life, but rather idealized girl whose existence revolves around the men in her life, and whose perfect yet shimmering depiction serves only to make her into the reader’s proxy-girlriend.

Barbara Gordon in the late 90s and early 2000s was a mature and confident woman in her late-20s to early-30s. She had her own job, her own friends, team, villains, and the type of confidence that can only come with age and experience. She was serious while still having a sense of humor, pragmatic, and she knew exactly what she wanted for herself.

(Gail, Simone, writer. Bennett, Joe; Barrows, Eddy, illustrator. Perfect Pitch: Part One. Birds of Prey. 87, e-book ed. DC Comics, 2005. pp. 22)

She was also flawed. She could get angry at people for little reason, she could be too cold or too straightforward without considering the other person’s feelings, she could be purposefully petty and selfish, she could get unreasonably jealous, she was impatient, she could be too proud to admit when she was wrong. It was all of these factors which allowed Barbara Gordon to be her own person — to be a fleshed out, well-rounded woman.

(Dixon, Chuck, writer. Leonardi, Rick, illustrator. The Gun. Birds of Prey. 39, e-book ed. DC Comics, 2002. pp. 16)

Babs’ life did not revolve around Dick. Yes, she loved him, but she still had some interiority. She had a life outside of Dick Grayson, outside of Bludhaven, outside of Batman, and outside of Oracle. She had her own goals, her own dreams, her own likes and dislikes that worked independently of the men around her. She had her own history that informed her decisions, she had both positive and negative relationships with other women and those relationships were not dependent on her connections with Dick or Bruce.

(Gail, Simone, writer. Timm, Bruce; Lopez, David; Melo, Adriana, illustrators. A Wakeful Time. Birds of Prey. 86, e-book ed. DC Comics, 2005. pp. 02)

By comparison, Taylor’s Barbara is not a woman, but a girl. She is very young and very immature. If Dick is written like a young man who just left home and is experiencing adulthood for the first time, then Babs is written as his girlfriend who is still in college and does not have concrete plans for her future.

Note that when referring to Taylor’s Babs, I mainly characterize her through her relationship with Dick. That was intentional. While writing this essay, I struggled to think of Barbara having any meaningful interactions with characters who were not Dick or Dick’s friends, the Titans. I also struggled to think of her doing something for herself rather than for Dick and the Titans. I struggled to define her goals independent of Dick, I struggled to describe the plans she has for her future that do not revolve around her relationship with Dick, and I struggled to give an account of what she does in her spare time when she is not helping Dick, Nightwing, the Titans, or Batman. That is because everything in Barbara Gordon’s life, as written by Taylor, is constructed around Dick (As many may know, it is really hard to prove a negative. How can I get supporting evidence from the comics that Babs does not have a life outside of Dick Grayson when my argument comes from those factors not existing? For this, though I hate to do so, I’m afraid I’ll have to rely on the reader’s familiarity with the run being discussed).

Barbara is a constant presence in Taylor’s Nightwing run. She is a secondary protagonist, and she is often portraying helping Dick Grayson behind the scenes,

(Taylor, Tom, illustrator. Redondo, Bruno The Battle for Bludhaven’s Heart Part Two. Nightwing: Rebirth. 93, e-book ed. DC Comics, 2022 pp)

Helping Nightwing as Oracle,

(Taylor, Tom, writer. Redondo, Bruno, illustrator Leaping into the Light Part 4. Nightwing: Rebirth. 81, e-book ed. DC Comics, 2021. pp 19)

Or fighting by Nightwing’s side as Batgirl.

(Taylor, Tom, writer. Redondo, Bruno, illustrator. You are Nightwing. Nightwing: Rebirth. 105, e-book ed. DC Comics, 2023. pp. 05)

She is always present, she is always doing something… But all of that is in the service of the men around her rather than for herself.

As Dick Grayson Fan A pointed out during a discussion, “Modern Babsgirl is forced to be perfect at everything. She's never allowed postcrisis Babs' edges, her flaws and intrinsic motivations. Taylor's Babsgirl is designed to be the perfect girlfriend for his blank self insert Nightwing. There's no meat to her bones, she's just shimmer and gloss.” (The subject of Babs came up when DC announced the lineup for Birds of Prey (2023) and Babs was not included on the roster.)

In other words, Babs as portrayed in Taylor’s run lacks any bite, edge, and maturity that would make her feel like a woman with her own sense of self and with a life that is not dependent on her boyfriend. Babs’ portrayal is a shallow girlboss-type of feminism, where though Babs is powerful and intelligent, she is not allowed to be a real person for she serves no purpose other than to be the perfect, understanding, badass girlfriend.

As a result, Dick and Barbara’s relationship becomes hollow. Because Babs lacks interiority, individuality, and agency, she becomes a flat character. This, in turn, makes it so it is hard to understand why Dick and Barbara are together other than for the fact that DC mandates it. The over reliance on the childhood friends-to-lovers trope only increases this hollowness rather than fleshing out their relationship. While Taylor includes flashbacks of Dick and Babs as friends when children, growing up together as teenagers, and fighting together as Robin and Batgirl, those instances feel removed from their individual histories. These moments exist in isolation, removed from the context of the rest of their lives, be it together or separately.

(Taylor, Tom, writer. Redondo, Bruno, illustrator The Battle for Bludhaven’s Heart. Nightwing: Rebirth. 92, e-book ed. DC Comics, 2022. pp 06 - 07)

DC currently treats Dick and Babs as a foregone conclusion. As a result, Taylor does not make an effort to get his readers on board with the relationship because he assumes that they should already support it. Dick and Babs are portrayed as getting along great, never having had any conflict, tension, or disagreements. This idealized romance would not necessarily be a problem if it didn’t come at the expense of developing Dick and Barbara as individuals outside of their relationship. They are not one being, but two separate people coming together. They should be written as such, but in trying to create the perfect relationship, Taylor robs Dick and Babs of their identity outside of their romance.

Not only does this inseparability that Taylor attempts to portray as “charming” destroy Dick and Babs’ individuality, it can also be downright insulting. In #106 Taylor infantilizes Dick when making it so Babs needs to be the one to wake him up so he can start his work as Nightwing.

As I mentioned previously, Dick is known for his toxic perfectionism, his obsessive tendencies that often come at the cost of his health. Making Dick laze around in bed while people need his help and having his girlfriend tell him to get ready for the day, as if she was his mother and he was a teenager who did not want to go to school in the morning, is not only out of character, it also diminishes Dick’s competence. It makes it seem like he cannot function as a responsible adult without Babs being there to hold his hand through everyday difficulties.

Not only that, the scene also plays into incredibly sexist dynamics where women are expected to carry the domestic labor in a relationship — the man cannot keep track of his own schedule, and so it becomes the woman’s responsibility to attend to his needs. What was intended to be a “cute” scene portrays Dick as being immature and irresponsible, and portrays Babs spend her time keeping track of an adult man’s responsibilities.

(Taylor, Tom, writer. Byrne, Stephen, illustrator. The Crew of the Crossed Part One. Nightwing: Rebirth. 106, e-book ed. DC Comics, 2023. pp 08)

This unhealthy codependency further insults Dick when, in #107, Babs demands Dick come back home as he is about to help his ex, Bea. Rather than believing Dick’s capability as a vigilante who has been operating in the field for far longer than she has, Babs shows her complete lack of faith in Dick’s ability to get anything done by himself by telling him that she “wants him home now.”

(Taylor, Tom; Byrne, Stephen The Crew of the Crossed Part Two. Nightwing: Rebirth. 107 e-book ed. DC Comics, 2023. pp. 19)

This is a great contrast to Nightwing (1996) #66, where Babs encouraged Dick’s independence and had full trust in his abilities to take on such difficult challenges on his own. When Lockhaven goes up in flames, Babs trusts Dick to be able to handle the situation by himself, even though she also knows that Dick’s mind is greatly preoccupied with Bruce and the murder of Vesper Fairchild. Indeed, in the next issue (not part of Murderer/Fugitive, but happening simultaneously to it), Dick does handle the Lockhaven fire by himself, without requiring any assistance, before returning to Gotham to help with the investigation that should clear Bruce’s name.

(Dixon, Chuck, writer. Burchett, Rick, illustrator. The Unusual Suspects. Nightwing. 66, e-book ed. DC Comics, 2002. pp 18 - 19)

This healthy separation and this unconditional trust not only portrayed Dick and Babs as both trusting each other’s abilities as heroes — Dick did not worry about Babs’ capability of taking care of herself, and Babs knew Dick could handle his own — it also portrayed them as being more secure in their relationship. They were individuals first. They had their own independent lives and personalities outside of their romance. They trusted the other’s ability to win on their own and handle their own cases without help. And that, in turn, made it so that they could stand on their own, and so that their relationship did not feel so vulnerable.

That being said, it wasn’t as if previous depictions of Dick and Babs didn’t present them with hardships, or demonstrated how, at times, they could bring out the worst in each other. As much as they could compliment one another, Dick and Babs could also disagree, get into arguments, and even fights. That is because they were individuals first, with their own opinions, preferred way of doing things, and their own background that would sometimes come in conflict.

Taylor avoids having meaningful conflicts in his story. While this negatively affects his narrative in a myriad of ways, the lack of the conflict in the plot also affects the relationship between Dick and Babs. It is fine to have a wholesome, sweet romance, so long as it is balanced with a plot containing other forms of tension. This way, the relationship can be a safe harbor for the main characters, the one space in their lives where they can be safe, and the one source of strength they can draw upon when facing the challenges ahead. By balancing a conflict-filled plot with a wholesome romance, the stakes of the plot feel higher while the romance feels sweeter. They foil one another to create a cohesive and unified story.

In Taylor’s Nightwing, all major plot beats take a backseat to the sitcom-like relationship between Dick and Babs. The lack of conflict in the plot and the lack of conflict in the romance makes it so everything is stagnant.

I do believe that Taylor thought he was writing a “Will-they-won’t-they” style romance in the beginning of his run. In Nightwing #95, for example, Batwoman implies that the reason Dick and Babs aren’t together is because Dick and Babs are scared of crossing that line.

(Taylor, Tom, writer. Redondo, Bruno The Battle for Bludhaven’s Heart Part Four. Nightwing: Rebirth. 95, e-book ed. DC Comics, 2022. pp 17)

Wally also played into that idea when, in #91, he pointed out that Dick and Babs were already together and just needed to make it official.

(Taylor, Tom, writer. Redondo, Bruno, illustrator. Get Grayson Act Three. Nightwing: Rebirth. 91, e-book ed. DC Comics, 2022. pp 19)

More than that, I believe Taylor attempted to make a commentary on comics imposing needless conflicts in relationships to keep two characters apart. In Taylor’s view, Dick and Babs were always in love, always meant to be together, and never had a complicated history that prevented them from rekindling their romance when Dick is trying to regain some control over his life after recovering his memories. This shows a lack of understanding as to why Dick and Babs often break up and does a disservice to both their characters.

Now, to explain this, I’ll borrow heavily from a private discussion I had with a Dick Grayson Fan A once distinguishing the difference between external and internal conflicts in a romantic plot. While we were not talking Dick and Barbara then, much of what we said still applies to their relationship.

External conflicts, as the name suggests, involve external forces that keep the couple from being able to develop their relationship despite their mutual feelings for each other. This is the case with a romance like Clark and Lois. Given Babs’ laugh at Dick’s condescendingly sexist claim that Babs shouldn’t be with him because it is too dangerous (as if he doesn’t know very well that Babs can easily take care of herself), it seemed that Taylor believed that this was the conflict that has been keeping Dick and Babs apart. And so, with one panel, he dismissed the idea that external forces could keep Dick and Babs apart because they are able to face their enemies together.

(Taylor, Tom, writer. Redondo, Bruno, illustrator Battle for Bludhaven’s Heart Finale. Nightwing: Rebirth. 96, e-book ed. DC Comics, 2022. pp. 17 - 18)

But in the past, what broke Dick and Babs up were not external conflicts, but internal ones. If external conflicts are created due to external forces, internal conflicts preventing a couple from being together come from the characters not yet being who they need to be in order to be happy together. This can be due to a clash of personalities, worldviews, needs, wants, or goals. To prove my point, I want to look at Dick and Bab’s break up in Nightwing (1996) #87 and the Nightwing Annual #02. (I’ll be honest in saying that it pains me to cite Nightwing Annual #02 in this essay, for I absolutely detest it. I believe Dick is written incredibly out of character and it, quite frankly, captures one of my major problems with how some writers choose to depict DickBabs. In trying to prop Babs up, Dick gets knocked down and ridiculed, and often burdened with the full responsibility as to why Dick and Babs haven’t been able to get together due to timing and Dick’s immaturity. As such, writers make it so Dick and Dick alone must change in order to become a partner worthy of Babs. They greatly mischaracterize him, fault the failures of Dick and Babs’ relationships on those mischaracterizations, and then portray Babs as the patient woman waiting for her immature soulmate to grow up. This is both an insult to Dick’s character and a propagation of sexist tropes where a woman must put her life on hold in order for the man to “catch up” to her maturely. Not only that, it unfairly requires that only one party makes changes for another. It is not Dick and Babs that must change for each other, but Dick who must change for Babs.)

Just as Taylor uses Dick and Babs’ shared history to bring them together, their breakup explores how shared history can make being together so difficult.

In Devin Grayson’s run, their shared history can be painful to Babs. Not because she doesn’t look back on their time growing up together fondly, but because it was such a happy time in her life that it makes her feel bitter about what she lost. While she is incredible as Oracle, she is still frustrated that she can't be Batgirl anymore. The past, no matter how good, is a reminder of what she can no longer be, and Babs wants to move forward. So Dick bringing up their time as Robin and Batgirl, however fondly, is painful for it makes her feel like they are stuck in the past they shared rather than moving forward together.

(Grayson, Devin, writer. Zitcher, Path, illustrator The Calm Before. Nightwing. 86, e-book ed. DC Comics, 2003. pp 21 - 22)

But to Dick, the past you share with someone is what makes your relationship in the present special. The past informs the present and the future. Dick, much like Bruce, doesn’t move forward by disconnecting himself from the past. His parents are part of his past. So is Robin. His childhood with Bruce. The past is something good to Dick, even when it's also so filled with pain. Dick is not shackled by his past the way Bruce is because he does not see it as something that needs to hold him back. You can move forward while still embracing who you once were and honoring the legacy you carry on your shoulders. The past informed who Dick is now, the relationships he has, and the person he wants to be. The past is where much of what he loves exists. So when he brings up their shared history when talking to Babs, he is not doing it because he loved Batgirl but cannot love Oracle, and he is not doing so because he is just focused on who they were then and not who they are now; he does it it's because to Dick, there's no such distinction between Batgirl and Oracle. They are both Babs, and he loves both of them.

(Grayson, Devin, writer. Zitcher, Patch, illustrator. Snowball. Nightwing. 87, e-book ed. DC Comics, 2003. pp 16)

The way Babs copes with trauma is by divorcing herself from the hurt, by letting go of who she was and embracing who she wants to be. Dick, on the other hand, merges who he was then with who he is now. He doesn't see those people as separate entities, but rather as extensions of him. And that makes sense when you consider that Babs' main trauma relates to something that was taken away from her, and for Dick, the only way he can remain connected to his parents is through the past. It's a great example of incompatibility. Neither one is "at fault" for how they view this issue, neither of them is more correct than the other. They are just different. They care for each other, but the way they understand and interact with the world prevents them from being happy together at this moment. For that to work, internal change is needed.

In portraying Dick and Barbara as complex individuals first, who have different attitudes towards looking back at the past and looking forward to the future, Grayson managed to make their relationship feel real. There’s a weight to their breakup, you can see why they care for each other and why this decision is painful and not taken lightly. They love each other, but they are not in a place where they can be themselves and be happy together yet. It is not danger that keeps them apart — it is the very same differences which they admire most about each other which pushes them away.

In Nightwing Annual #02, we see other reasons why Dick and Babs failed to come together so often. These included Babs being scared of Dick eventually leaving her due to tensions between Dick and Bruce

(Andreyko, Marc, writer. Bennett, Joe, illustrator Hero’s Journey. Nightwing Annual. 2, e-book ed. DC Comics, 2007. pp 22 - 23)

Timing,

(Andreyko, Marc, writer. Bennett, Joe, illustrator Hero’s Journey. Nightwing Annual. 2, e-book ed. DC Comics, 2007. pp 25)

And, perhaps most importantly, the way in which Dick devalues his own life.

(Andreyko, Marc, writer. Bennett, Joe, illustrator Hero’s Journey. Nightwing Annual. 2, e-book ed. DC Comics, 2007. pp 37 - 38)

This is something Grayson also alludes to during her run, when she often portrays Babs being both worried and frustrated at Dick’s tendencies to push himself too far.

(Grayson, Devin, writer. Zitcher, Patch, illustrator Snowball. Nightwing. 87, e-book ed. DC Comics, 2003. pp 13)

In both Grayson’s run and the aftermath of Infinite Crisis, the toxic perfectionism referred to many times during this essay led Babs to break off their relationship despite their mutual love.

Having lost the mobility of her legs due to the Joker, Babs sees her life as Oracle as a second chance, and one which she will use to its fullest by putting herself first. It makes sense, then, that she sees Dick’s self-sacrificing tendencies and his desire for approval as both concerning and irritating. As Dick constantly puts himself in near-death scenarios for even the smallest of things, Babs decides that she would rather wait for a time when Dick learns to value himself more rather than to continue in a relationship where she is the only one who cares about whether Dick lives or dies.

Whether this is the right solution to their relationship is up for debate. Personally, it irks me that stories will often frame this as Dick having to mature to be with Babs and not place an equal burden on Babs having to learn to accept that this is just who Dick is. But that is irrelevant to this discussion, for what matters is that there have been plenty of reasons why Dick and Babs did not work out in the past, and those are almost always rooted in who they are as individuals struggling to perfectly fit together as a unit. Dick and Babs have a messy history, both as individual characters with their own stories, and together as friends and romantic interests. They are two different people who, although their morals align, approach life differently. The development in their romance, then, comes with how willing they are to change for the other, and how willing they are to accept the things that cannot — and should not — be changed. It is about a balance of give and take, and when Babs and Dick broke up in the past, it was because they were not able to find that balance. It is because they, as individuals, clashed. As Fernando Gabriel Pagnoni Berns and Cesar Alfonso Marino put in their essay analyzing Dick’s portrayal in the Batman Family (1975-1978) series, Dick and Babs will often find themselves in “point[s] of inflection which marks that both heroes must go their separate ways to avoid further tensions (developed by sexual attraction and/or problems about leadership).” (Pagnoni Berns, Fernando Gabriel and Marino, Cesar Alfonso “Outlining the Future Robin: The Seventies in the Batman Family.”Dick Grayson, Boy Wonder: Scholars and Creators on 75 years of Robin, Nightwing, and Batman edited by Kristen L. Geaman, McFarland & Company, Inc., Publishers, 2015, pp. 32)

In other words, it was about interior conflicts, not exterior ones.

When taking this into consideration, one can see how Taylor’s portrayal of Dick and Babs’ relationship is not only incredibly hollow, but incredibly cynical. Because Taylor removed Dick’s self-destructive, toxic perfectionism, that is no longer a point of friction in their relationship. Because Babs is no longer the pragmatic woman who doses out tough love, that is also no longer a point of friction in their relationship. But as a result, Dick and Babs are no longer themselves, and their relationship is no longer representative of their shared history. Instead, we are left with an insulting and purposeful misrepresentation of their past relationship, with Taylor displaying a blatant disrespect and disregard for anything his predecessors contributed to these characters. Dick and Babs were never apart because of danger. Dick would never condescend to Barbara in this manner, and Barbara would never let something so trivial go unchallenged or get in the way of what she wants. What got in their way was a matter of compatibility. They may compliment each other in the field, be great friends, get along well, but in previous attempts to make their relationship work, they found that they were simply too different to share a life together, their goals did not align, and their approaches to life did not work together. Getting and staying together was not a matter of external factors, but rather whether they could do the difficult internal work necessary to make their romance last.

I want to make it clear that I actually love the childhood-friends-to-lovers trope. But what makes friends-to-lovers interesting is the fact that it creates inherently messy romances. If you two characters who have loved each other for so long, then they naturally have a history. They have seen each other at their best and at their worst. Yet, insecurities, timing, and compatibility keep them from being able to get their happily-ever-after. That creates a messiness that adds weight and meaning to the relationship. Seeing them overcome these challenges, become better individuals, and then finally come together is what makes the narrative so effective.

Dick’s and Babs’ romance, as currently portrayed, lacks that weight. Taylor and DC want that history, that “true love” aspect of their relationship without acknowledging the complications that come from having lived so many years in close proximity. In other words, they want the appearance of a long shared history without acknowledging the contents of said history. This robs both Dick and Babs of their individual personalities and backstories, for it is there where the source of their conflicts lie. All of the things that make them interesting individuals are sacrificed for the heteronormative DickBabs amalgamation. There is no Dick Grayson. There is no Barbara Gordon. There is only a happy, wholesome, smiling couple of nothingness — as it was put earlier it is all “shimmer, gloss, and no substance.”

And this does not affect only them.

In making Dick and Babs inseparable, Babs has become heavily involved with the Titans. This leads to the majority of Babs’s interactions in the current canon to be with Dick’s friends. And because, once more, Taylor skirts away from conflict, that means that all of Dick’s friends have become Babs’ friends. However, by making Babs friends with all of Dick’s female friends, Taylor created a shallow girlboss feminist narrative where all of these women’s individual personhoods are reduced their relationship to one man. He does not take into account who they are, only their gender and their mutual connection to Dick. In trying to do a girl-boss feminist empowerment, Taylor instead creates a deeply misogynistic narrative.

Kory and Babs, for example, should be allowed to dislike each other despite being on the same team. They are, after all, supposedly fully realized women with their own personalities, values, and goals. Their existence is not dependent on Dick Grayson or their romance with him. Real world women dislike one another for various reasons that are unrelated to men. Male characters often hate each other without it being because of a woman. So why can’t the same be true for female characters?

To attempt to make Kory and Babs friends simply to undermine expectations because one of them is Dick’s ex and the other one is Dick’s girlfriend is not empowering. It sacrifices characterization for the purposes of subversion.To think of the dynamic between these two characters in terms of their relationship with Dick reduces their existence to a man by implying that the only possible reason they could dislike one another is because of said man. It is not due to different value systems (which would be incredibly reasonable given their different background and cultures), it is not because their personalities clash (as they are two different people), it is not because their likes and dislikes may contradict (once more, because they are two different people). All the things that would make them realized individuals with agency are ignored in favor of focusing on their relationship with Dick.

Babs is a cisgender, straight, middle-class white woman from New Jersey. Kory is a warrior Princess from a different galaxy. It would not be unreasonable to expect their opinions to conflict when their backgrounds, upbringings, and experiences also differ. After all, those are things that shape our value system, dictating our perspectives.

Having different values or different ways to express your opinion does not mean that one is right and the other is wrong. It does not mean one is superior to the other. It only means they are different. Diverse. To believe one must be correct and the other must be wrong is to fall into the traps of ethnocentrism. By making Kory and Babs values indistinguishable, the story implies that there is only one correct way to interact with the world. This eliminates diverse perspectives in favor of a monolithic one. The fact that Kory's culture is the one that is ignored so that they are compatible with Babs implies that Babs – the cisgender, straight, middle-class white woman from New Jersey – is the one whose culture and world views are correct and, therefore, superior.

Dick’s relationship platonic relationship with Donna is also devalued and watered down in favor of Dick and Barbara’s romance. Because Dick and Barbara are depicted as having been each other’s best friends since childhood — when, in reality, Dick was closer to Donna during his preteen and teenage years, and Donna is often portrayed as his best friend — Donna’s place in Dick’s life is replaced by Babs. Babs must be everything to Dick — his true love, his longest childhood friend, his one female best friend.

This creates a narrative in which Dick cannot have a significant interaction with another woman without it being a threat to his relationship with Babs. Needless to say, this is an incredibly heteronormative worldview which implies that men and women who are not related cannot share deep and significant platonic intimacy without some underlying romantic tension. So naturally, Donna cannot he Dick’s longest friend, his best friend, because in the heteronormative world portrayed in Taylor’s run, that would mean that she is a rival to Babs.

Perhaps it is for this reason that Melinda was revealed to be Dick’s sister so soon into her introduction. If Melinda and Dick were not related but were still meant to interact with each other, that would create a bond that some might see as romantic or sexual. So by presenting Melinda as Dick’s biological sibling within moments of the two first interacting, Taylor strips Melinda of any romantic or sexual appeal. In this heteronormative world, only by being related can Dick and Melinda share intimacy without threatening Babs’ position in Dick’s life.

Needless to say, this heteronormative worldview which only allows for the relationship between non-biologically related men and women to be seen through lenses of romance and sex is also a misogynistic, male-centric worldview. In this story, women are not treated as people and are instead perceived solely through their relationship to Dick Grayson.

#nightwing #anti tom taylor #anti dickbabs

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forthegothicheroine · 4 months ago

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@batmanisagatewaydrug set up a fun Book Bingo for 2025, and want to try and do it!

This planned list of books for me to read is extremely subject to change, especially since I always get a lot of books as holiday presents, but here's the plan as of this moment.

Literary Fiction: The Grapes of Wrath by John Steinbeck. My mother got me a bunch of Steinbeck for my birthday, since I liked Cannery Row, so let's see if I can do now what I couldn't in high school!

Short Story Collection: The Illustrated Man by Ray Bradbury. Another author I don't know super well but who has written at least some things I like.

A Sequel: Sweet Thursday by John Steinbeck. Like I said, my mom got me a bunch of Steinbeck and I like Cannery Row, so I'll try the sequel.

Childhood Favorite: A Connecticut Yankee in King Arthur's Court by Mark Twain. I read and loved three quarters of this as a kid- but I had to stop before what I knew would be the grim finish, where Twain's depression took hold. It's time I see it through.

20th Century Speculative Fiction: Anno Dracula by Kim Newman. I've come around on Newman, so I should finally try his Bad End Dracula AU.

Fantasy: Fool by Christopher Moore. I keep seeing this when I shelve things at the library and thinking 'I should get that out sometime' so let's make it sometime!

Published before 1950: Beowulf, translated by Burton Raffel. I loved the children's book Bea Wolf, and it gave me the urge I needed to find a good translation of the original.

Independent Publisher: Under the Pendulum Sun by Jeannette Ng. Gothic? Fairies? Dark historical fiction? Amazing cover? Sounds great.

Graphic Novel: Be Very Afraid of Kanako Inuki by Kanako Inuki. Another great cover that's already making me very afraid!

Animal on the Cover: Earthlings by Sayaka Murata. I loved Convenience Store Woman and this has a cute hedgehog on the cover, and that's all I need to know.

Set in a Country You Have Never Visited: Let the Right One In by John Ajvide Lindqvist. One of the books that's been on my tbr for the longest time, and I loved both film adaptations.

Science Fiction: Finna by Nino Cipri. I'm always down to read about genre-shifting trips through alternate dimensions.

2025 Debut Author: You are Fatally Invited by Ande Pliego. I have a weakness for riffs on And Then There Were None, plus this seems like the kind of book my library will order.

Memoir: The Complete Persepolis by Marjane Satrapi. I started this at someone's house and never finished it, so now is the time.

Read and Make a Zine: Archive.org has a bunch of issues of a Twin Peaks fanzine called Wrapped in Plastic, which I'm looking forward to browsing through! I hope it will give me ideas for what to create!

Essay Collection: The Collected Schizophrenias by Esmé Weijun Wang. Not much to say about this except that it sounds really fascinating.

2024 Award Winner: Chain-Gang All-Stars by Nana Kwame Adjei-Brenyah. This won the Alex Award (for adult books with good YA crossover appeal) and I've been curious about it since I worked at a bookstore and put in the order.

Nonfiction: The Madman's Library: The Strangest Books, Manuscripts and Other Literary Curiosities from History by Edward Brooke-Hitching. I would indeed like to learn about those books! Because I missed the "learn something new" part, I will read The Feud: the Hatfields & McCoys by Dean King.

Social Justice & Activism: Beyond Survival: Strategies and Stories from the Transformative Justice Movement by Ejeris Dixon and Leah Lakshmi Piepzna-Samarasinha. This has been recommended to me as a good starting point to learn about transformative and restorative justice, something I would like to understand better.

Romance Novel: Duke of Sin by Elizabeth Hoyt. Duke of Desire was great, so I'm eager for some more of that!

Read and Make a Recipe: I'm hoping to find something good from the Moosewood Cookbook, I need to learn more good vegetarian meals.

Horror: Diavola by Jennifer Marie Thorne. More gothics, and as always, I'm late to a book everyone else always loves!

Published in the Aughts: Great Granny Webster by Caroline Blackwood. Another book I always see on the shelves and always mean to get out next time when I'm not in the middle of something!

Historical Fiction: The Keep by F. Paul Wilson. Historical horror (with Jewish characters) is one of my favorite genres.

Bookseller or Librarian Recommendation: Poison Widows: A True Story of Witchcraft, Arsenic, and Murder by George Cooper. This was on the library website of recommended Philadelphia-set books, so I'll happily give it a try.

#books #2025 book bingo

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celaenaeiln · 1 year ago

Note

The bimbofication of Dick Grayson is sad but I also feel like a lot of it has to do with his place in the batfamily and fitting a certain role which is different from his role as part of the Titans fam. Like there is a reason he gets killed off in a lot of Batfam stories and or he takes up the role as Batman despite wanting to make a name for himself as Nightwing. I’m not a huge Dick Grayson fan but that’s because my introduction to him was through the Batfamily and he was always portrayed rather silly or kind of the butt of the joke to Barbara Gordon’s know-it-all-ness (I love her but that’s how it feels) , but then I would read his interactions with the Titans and I actually became more invested in his character even if the writing is a bit outdated.

This goes for his relationships too, he used to be portrayed as a one woman man but then Dixon got a hold of him and suddenly the tiring trope of guy is a bit of a playboy except for that one girl who is the love of his life took hold and it hasn’t left since. I miss the Dick who meet this out of this world (literally) woman and who grew to love each other and watching him grow into a man who learned to love in a passionate way and who learned that people were different from him.

Even a lot of his newer relationships have a lot of depth (like with Bea Bennet or Shawn) but then they get axed. Taylor isn’t really writing anything that hasn’t been written before, like Rebirth Dick wasn’t that great and Rebirth DickBabs was childish and Dixon had some takes on Dick but Taylor has really has highlighted a lot of that bad writing and It’s crazy that it’s becoming the most popular iteration of Dick Grayson and even Barbara Gordon.

og post in reference

Absolutely!

There was the comic thing DC released during an event with all the heroes talking to the reader like they were in the Office, and Dick's was, "I'm the nice, funny one."

Now that's funny because Roy literally refers to him as uptight. The statement is true but it's a lie by omission. It doesn't take into account his craziness, his leadership, his dedication, his intelligence, his prowess, his good-standing - nothing! "Nice, funny one." I think Ra's would've run a sword through the writer's heart at that, given that he was easily defeated by the "nice, funny one."

Aside from that I can't really speak to the dumbification of Dick in Batfamily comics because I think most of them have done a good job but I used to see it a lot in fandom. It's much less now but five years ago, there was so much fandom content about incompetent himbo Grayson and some writers genuinely meant it too. Which I don't understand because nowhere in the Nightwing comics is Dick ever written as being dumb. The Batman comics (1940) and (2016) also do a fantastic job of writing him. His fighting ability, his emotional intelligence, his IQ, all of it is there and off the charts!

I guess the main thing with Dick's role in the batfamily is he's seen as an authority figure. He's Batman's second in command and seen that way by both Bruce and the rest of the family. So if some major disaster were to occur, he would need to be killed off because he's both of exceedingly high emotional value to Bruce or because he's going to be the next person in charge and god forbid that happens because the apocalypse would end then.

I mean, the villains made the mistake of leaving him alive in Convergence and he literally reset the universe back to how it's supposed to be.

So there's no way they can leave him alive because of that. Also his death fuels Batman to end whatever crisis the world is facing so that's an important plot event.

But the Barbara Gordon arm candy.

I am certain. That the idea of Dick being stupid comes from him being with Barbara Gordon. No where in the Nightwing comics, Batman comics (both!), Red Robin comics, Robin comics, Titans comics, Justice League comics, and other DC comics is Dick ever written to be stupid EXCEPT when he's written with Barbara.

Take this nightwing panel for instance

Nightwing (2011) Issue #27

or this

Nightwing (1996) Issue #42

and then take this

Convergence: Nightwing/Oracle Issue #1

AKA: I'm smart. You're dumb. Now shut up and leave because you're too stupid to understand.

The arrogance. This is the same shit Bruce would pull except when Dick asks, Bruce actually tells him.

Justice Leagues: Justice League of Atlantis

Barbara in the Nightwing comics isn't the best but at least it tracks with her own personality in her own comics and the Batman and Bird of Prey ones. The best Barbara Gordon depictions I've seen are through Cass and Stephanie's Batgirl comics funnily, but the Barbara Gordon Batgirl comics have the worst treatment I've seen of Dick in all of DC.

This is where I think the idea Dick is dumb orginates because it's definitely not coming from Tim or the Titans or Batman. It also makes sense if that's the case since Dickbabs is such a huge thing in this fandom.

I miss when Dick would just be with Kori through everything. They were so in love! I genuinely believe they could have worked out their problems or at least gotten back together but DC will never let that happen for logical reasons. If Dick marries Kori, he's going to end up spending all his time with the Titans which would be bad for the rest of the family because they need him when they have problems or just to hang out. It's a lot more convenient for them to have Tim hang out with Dick and Barbara if they were dating than him hanging out with Dick and Kori. Which is the biggest reason why Batfamily writers want to keep the romance within the family.

I will never accept the cheating thing because it was so out of character but I've kinda gotten used to him finding new relationships because I grown to fall in love with those characters. As long as he has meaningful relationships like with Bea and Shawn where it develops and grows, I end up loving it. My only requirements for his relationship is letting Dick be himself and letting him be happy. I was furious that whoever writer ended Bea's relationship and for what? "I'm sorry, I can't love you anymore, I got memories back." What kinda a reason is that?! It's not even remotely believable! I have so much to say but it's going to turn into a rant about how dumb the reasoning is.

Tom Taylor took all of Dick's fake worst traits and amplified them by a billion. Actually you know what? I get what's he's trying to do. He picked one trait of Dick's - caring - and trashed his entire life story at the expense of his intelligence, athleticism, humor (c'mon Dick was genuinely funny before this run, his humor did not suck), and wit to support this one little thing.

He wouldn't understand subtlety if it hit him in the face.

#dick grayson #nightwing #barbara gordon #oracle #bruce wayne #batman #tom taylor #thanks for the ask!#cl anon asks #cl asks

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critical-quoter · 5 months ago

Text

October Books

Man, I don't know what my life even is any more. I'm just reading and disassociating and trying to get my husband to let me decay into my final mushroom form. This is my lightest reading month. I have no reason for it other than some of these were absolute bricks.

When the Moon Hatched - Sarah A. Parker ⭐️⭐️⭐️⭐️ Hockey Boy - Brittanee Nicole ⭐️⭐️⭐️⭐️⭐️ No Pucking Way - C. R. Jane & May Dawson ⭐️⭐️⭐️⭐️⭐️ Our Pucking Way - C. R. Jane & May Dawson ⭐️⭐️⭐️⭐️⭐️ Reverie - Shain Rose ⭐️⭐️⭐️⭐️ Truly Madly Deeply - L. J. Shen ⭐️⭐️⭐️⭐️⭐️ Connor - Billie Lustig ⭐️⭐️ The Restoration - Maia Terry ⭐️ Before We Came - Sloane St. James ⭐️⭐️⭐️⭐️⭐️ Things We Hide From the Light - Lucy Score ⭐️⭐️⭐️⭐️ The Words - Ashley Jade ⭐️⭐️⭐️⭐️ Paved in Blood - Sonja Grey ⭐️ Holy Sinner - Darcy Dahlia ⭐️⭐️⭐️ Lights Out - Navessa Allen ⭐️⭐️⭐️⭐️⭐️ Fire Line - Maggie C. Gates ⭐️⭐️⭐️⭐️ Pucking Around - Emily Rath ⭐️⭐️⭐️⭐️ Love on the Waiver Wire - Anna Noel ⭐️ The Pucking Wrong Date - C. R. Jane (Audiobook) ⭐️⭐️⭐️⭐️⭐️ People We Meet on Vacation - Emily Henry ⭐️⭐️⭐️⭐️ The Darkest Temptation - Danielle Lori ⭐️⭐️⭐️⭐️ Art of War and Love - Honey Mavryck ⭐️⭐️ Icebreaker - Hannah Grace ⭐️⭐️⭐️⭐️⭐️ The Thug and His Doll - Bea Paige ⭐️ Doppelbanger - Heather M. Orgeron ⭐️⭐️ Burned Dreams - Neva Altaj ⭐️⭐️⭐️⭐️⭐️ Center Ice - Julia Connors ⭐️⭐️⭐️⭐️ Fell for You - Renee Harless ⭐️⭐️⭐️ Saving Anna - T. Thomas ⭐️ These Rough Waters - Ria Wilde ⭐️⭐️⭐️⭐️⭐️ The Au Pair Affair - Tessa Bailey ⭐️⭐️⭐️⭐️ His Tesoro - Emilia Rossi ⭐️⭐️ The Mistake - Elle Kennedy ⭐️⭐️⭐️⭐️⭐️ Bull Rush - Maggie Rawdon ⭐️⭐️⭐️⭐️ Ruin - Samantha Towle ⭐️⭐️⭐️⭐️ Off Limits - Emma Creed ⭐️⭐️ Silent Lies - Neva Altaj ⭐️⭐️⭐️⭐️⭐️ Does It Hurt? - H. D. Carlton ⭐️⭐️⭐️⭐️ On the Wild Side - Kristen Proby ⭐️ The Pieces We've Lost - H. K. Green ⭐️⭐️⭐️ Ghost Knight - Jewels Baxter ⭐️ Campfires and Canines - Aly Hollis ⭐️⭐️ Reckless - Else Silver (Audiobook) ⭐️⭐️⭐️⭐️⭐️ Bloody Heart - Sophie Lark ⭐️⭐️⭐️⭐️⭐️ Devoured by You - Tracie Delaney ⭐️⭐️⭐️ The Dixon Rule - Elle Kennedy ⭐️⭐️⭐️⭐️⭐️ Things We Left Behind - Lucy Score ⭐️⭐️⭐️⭐️⭐️ Exposing Atalanta - Molly Briar ⭐️⭐️⭐️⭐️ Exposing Adonis - Molly Briar ⭐️⭐️⭐️⭐️

48 total books read for October 2024.

#book #books #booklr #book lover #literature #novel #lit #reading #October reads #October tbr #2024 tbr #october #October 2024

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aut2imagineart · 2 years ago

Photo

For the art event of MerMay I wanted to make some sketches to celebrate it. The I included three ideas of mine on the top and three fan arts below. Top left is an alien Diva (working name Bea) from a Don Bluth inspired story of mine titled “Galena”. Top middle is my genie OC Zakiyah as a mermaid. Top left is a blast from the past; my take of one of the posthuman species from Dougal Dixon’s book Man After Man called the Aquatics. Bottom left is Classic Harley Quinn wielding her signature hammer. Bottom middle is my current favorite mermaid Mermista from She-Ra and The Princesses of Power. Lastly bottom right is Seraphina, a mermaid who appeared in the Disney Channel series Rapunzel’s Tangled Adventure.

Harley Quinn Belongs to DC comics, She-Ra and the Princesses of Power belong to ND Stevenson, and Rapunzel’s Tangled Adventure belongs to Disney.

As always, comments and critiques are welcome.

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ninelivesart · 2 years ago

Text

2023 Draw My Reads

Here is a full list of all the books I read in 2023 and links to the art I’ve made for them.

Just a few quick notes. I didn’t make art for everything I read. I also fell off the wagon a bit toward the end and went through an art block. Not sure if I’ll continue this project into 2024 but I might do some variation. We’ll see.

Also, I read some absolutely filthy (and ridiculous) stuff sometimes. So be warned.

*Sequels will have an asterisk. First book in series will be in parenthesis.

January

1. Alpha Wolf* by Caroline Peckham and Susanne Valenti (Caged Wolf)

2. Feral Wolf* by Caroline Peckham and Susanne Valenti (Caged Wolf)

3. Constantine: Distorted Illusions by Kami Garcia and Isaac Goodhart

4. The Ballad of Never After* by Stephanie Garber (Once Upon a Broken Heart)

5. Wicked Beauty* by Katee Robert (Neon Gods)

6. Vicious by V.E. Schwab

7. Hell Bent* by Leigh Bardugo (Ninth House)

Total (so far): 7

February

1. How Y’all Doing by Leslie Jordan

2. Vengeful* by V.E. Schwab (Vicious)

3. A Court of Mist and Fury* by Sarah J. Maas (A Court of Thorns and Roses)

4. The Invisible Life of Addie LaRue by V.E. Schwab

Total (so far): 11

March

1. Kingdom of Flesh and Fire* by Jennifer L. Armentrout (From Blood and Ash)

2. The Atlas Six by Olivie Blake

3. Cinder by Marissa Meyer

4. Scarlet* by Marissa Meyer (Cinder)

5. Cress* by Marissa Meyer (Cinder)

Total (so far): 16

April

1. Winter* by Marissa Meyer (Cinder)

2. A Soul to Keep by Opal Reyne

3. Sorcery of Thorns by Margaret Rogerson

4. Lauren’s Barbarian* by Ruby Dixon (Ice Planet Barbarians, spinoff series)

Total (so far): 20

May

1. Harvest House by Cynthia Leitich Smith

2. The Song of the Marked by S.M. Gaither

3. A Darker Shade of Magic by V.E. Schwab

4. Fable by Adrienne Young

5. Bea Wolf by Weinersmith

6. Dead Silence by S.A. Barnes

Total (so far): 26

June

1. A Ruin of Roses by K.F. Breene

2. Veronica’s Dragon* by Ruby Dixon (Ice Planet Barbarians, spinoff series)

3. Willa’s Beast* by Ruby Dixon (Ice Planet Barbarians, spinoff series)

4. Over My Dead Body by Sweeney Boo

5. Window Shopping by Tessa Bailey

6. A Court of Silver Flames* by Sarah J. Maas (A Court of Thorns and Roses)

7. Fourth Wing by Rebecca Yarros

Total (so far): 33

July

1. Zodiac Academy: Beyond the Veil* by Caroline Peckham and Susanne Valenti (Zodiac Academy: The Awakening)

2. The Bridge Kingdom by Danielle L. Jensen

3. The Traitor Queen* by Danielle L. Jensen (The Bridge Kingdom)

4. The Little Library Cookbook by Kate Young

5. Sheets by Brenna Thummler

6. Cackle by Rachel Harrison

7. The Fellowship of the Ring by J.R.R. Tolkien

8. The Borderlands Princess by Ophelia Wells Langley

9. Bride of the Shadow King by Sylvia Mercedes

10. Vow of the Shadow King* by Sylvia Mercedes (Bride of the Shadow King)

11. Angie’s Gladiator* by Ruby Dixon (Ice Planet Barbarians spinoff series)

12. Legends and Lattes by Travis Baldree

13. Gail’s Family* by Ruby Dixon (Ice Planet Barbarians spinoff series)

14. Hanna’s Hero* by Ruby Dixon (Ice Planet Barbarians spinoff series)

15. Devi’s Distraction* by Ruby Dixon (Ice Planet Barbarians spinoff series)

16. Destination Alien Bride by Dee J. Holmes

Total (so far): 49

August

1. Destination Alien Mate* by Dee J. Holmes (Destination Alien Bride)

2. Gilded by Marissa Meyer

3. The Very Secret Society of Irregular Witches by Sangu Mandanna

4. Cursed* by Marissa Meyer (Gilded)

5. Nadine’s Champion* by Ruby Dixon (Ice Planet Barbarians spinoff series)

6. Callie’s Catastrophe* by Ruby Dixon (Ice Planet Barbarians spinoff series)

7. Ice Planet Honeymoon* by Ruby Dixon (Ice Planet Barbarians)

8. Flowerheart by Catherine Bakewell

9. I’m in Love with Mothman by Paige Lavoie

Total (so far): 58

September

1. Cryptid Club by Sarah Andersen

2. Radiant Sin* by Katee Robert (Neon Gods)

3. Ice Planet Honeymoon: Raahosh and Liz* by Ruby Dixon (Ice Planet Barbarians)

4. The Okay Witch by Emma Steinkellner

5. Throne in the Dark by A.K. Caggiano

6. Ice Planet Honeymoon: Aehako and Kira* by Ruby Dixon (Ice Planet Barbarians)

7. A Soul to Heal by Opal Reyne* (A Soul to Keep)

8. Ice Planet Honeymoon: Rukh and Harlow by Ruby Dixon* (Ice Planet Barbarians)

9. The Barbarian Before Christmas by Ruby Dixon* (Ice Planet Barbarians)

10. Penny’s Protector by Ruby Dixon* (Ice Planet Barbarians spinoff series)

11. Mari’s Mistake by Ruby Dixon* (Ice Planet Barbarians spinoff series)

12. Raven’s Return by Ruby Dixon* (Ice Planet Barbarians spinoff series)

Total (so far): 70

October

1. Bridget’s Bane by Ruby Dixon* (Ice Planet Barbarians spinoff series)

2. Steph’s Outcast by Ruby Dixon* (Ice Planet Barbarians spinoff series)

3. Sam’s Secret by Ruby Dixon* (Ice Planet Barbarians spinoff series)

4. Daisy’s Decision by Ruby Dixon* (Ice Planet Barbarians spinoff series)

5. Flor’s Fiasco by Ruby Dixon* (Ice Planet Barbarians spinoff series)

6. R’jaal’s Resonance by Ruby Dixon* (Ice Planet Barbarians spinoff series)

7. Forged by Magic by Jenna Wolfheart

8. A Song Below Water by Bethany C. Morrow

9. A Curse for True Love by Stephanie Garber* (Once Upon a Broken Heart)

Total (so far): 79

November

1. The Kaiju Preservation Society by John Scalzi

2. Namesake by Adrienne Young* (Fable)

3. Blackwater by Jeannette Arroyo and Ren Graham

4. Surviving Skarr by Ruby Dixon* (Ice Planet Barbarians Spinoff series)

5. Squad by Maggie Tokuda-Hall and Lisa Sterle

6. Mysteries of Thorn Manor by Margaret Rogerson* (Sorcery of Thorns)

7. Destination Alien Treasure by Dee J Holmes* (Destination Alien Bride)

8. Zodiac Academy: Origins of an Academy Bully by Susanne Valenti and Caroline Peckham* (Zodiac Academy: The Awakening)

9. When She’s Ready by Ruby Dixon

10. When She’s Married by Ruby Dixon* (When She’s Ready)

11. When She Purrs by Ruby Dixon* (When She’s Ready)

12. When She Belongs by Ruby Dixon* (When She’s Ready)

Total (so far): 91

December

1. The Dreaming Forest by LB Black

2. Gold by Raven Kennedy* (Gild)

3. Chained to Krampus by KL Wyatt

4. Once Upon a Dream by Liz Braswell* (Series of standalones)

Total Reads For 2023: 95

My goal was to read 90 books and I beat that by 5. I think I’m going to set my reading goal to just 80 this year. Just to give myself a little more freedom. I did read a lot of really short books just to get my number up and I’d rather just focus on reading whatever I want.

Shortest book read: Ice Planet Honeymoon: Raahosh and Liz by Ruby Dixon

Longest book read: Winter by Marissa Meyer

Current read started in 2023 but will finish in 2024: The Ten Thousand Doors of January by Alix E. Harrow

#drawing my reads #drawing my reads masterlist #drawing my reads 2023 #giving this a full update at the start of a new year #i don't want to give up on this project completely in 2024 #but i might change how i do things #i'm thinking of picking a scene from the books i read and drawing that #but i want to give myself a little more freedom #last year i drew book characters even when i wasn't super into the book #and i don't want people coming to my page expecting more fanart of that book #only to be disappointed when i choose not to continue the series #so that being said #i'm reading ten thousand doors of january right now #i haven't found a scene i particularly want to draw just yet #and i'm currently working on a non book related art piece #so hopefully i can get that one done today while i'm off work

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asphaltsugar · 2 months ago

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🎫 MEET THE OWNER !

BEA ‘asphaltsugar’─────────VOLUME ONE, FIRST EDITION, 2O25.

\ october’s midwestern blue jean baby.

❝ ask her what she’s been loving lately!

FILM | the walking dead arrested development godless

MUSIC | GIBSON GIRL ethel cain & KISS YOU OFF scissor sisters

❝ who can we expect to see?

daryl dixon michael bluth fred weasley a league of their own (1992 & 2022) . . .

( she notes they’re always subject to change! )

✉️ FURTHER DETAILS !

there will be mature themes on this blog in terms of what i reblog and write! they will always be tagged accordingly. please be mindful of that if you are a minor (while i cannot control what you read, i do ask that you at least be respectful and do not interact with those posts), or if you simply don’t want to see any of that content.

📬 / FOR ANY REQUESTS,

⋆ fluff and suggestive/smutty themes are fine. i am not comfortable with writing full smut—for me, this means p in v or anything that is simply p.w.p.—or dark content of any kind, so please do not request it! if you’re not sure what counts as what, don’t hesitate to ask me :) please be mindful that i can also decline a request if i see fit.

&. i am also not the best at writing angst—this is just a personal preference, so i tend not to write it as much—so i can’t guarantee a request of the sort will be my best work.

&. some hard no’s include: pregnancy, stepcest/fauxcest, self harm/eds, degradation of any kind, large age gaps or a very innocent reader . . .

&. i will not make any bots on c.ai, and i ask that you don’t take any character aus and make one yourself. if you want more content of a certain character, just ask me!

⋆ ‘x reader’s only; the reader will have no defining characteristics (hair type, skin color, etc.). i will write for gender neutral and female readers.

&. please only request characters and not the people portraying them.

⋆ i am a student, so larger fic requests are closed for the time being! drabbles and thoughts are always welcome, though

─────────────────────── thank you! :)

#✷ ; about

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zahri-melitor · 6 months ago

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Okay looking at this again now all the votes are in:

Devin Grayson ended up with over 50% of the vote. That's...notable to me. I do wonder how much of it is people who haven't read a lot of the other options remaining. Now I'm interested in what I'd get if I could have all the Grayson voters give me a second preference. (It also confirms for me that removing Dixon and Tomasi was extraordinarily necessary).

Everyone, even Lobdell and Bruce Jones, got a vote. I don't believe in especially that Lobdell vote as anything more than a misclick but I'd be fascinated to hear from that person. Maybe they're a really big Bea Bennett fan or something.

Wolfman, Seeley, then Taylor and O'Neil feels about right, in terms of what I know about the fandom. I expect Taylor to keep tracking upwards, just as Seeley is here. The run will look better when you come back to it after a break, I promise.

Kyle Higgins fighting for his life next to Sam Humphries, here. From opinions I've seen through this: there's definitely a cohort of fans that wish Humphries had got a longer run, and Higgins honestly is good, folks! It's just the n52 of it all.

Everyone else is pretty much data noise.

In terms of my starting premise for why I ran this poll: Tom Taylor has come in as probably the 6th top writer of a title called Nightwing. Which... yeah my vibe was he was probably in the top 5, out of a pool of 6 names (he's certainly in MY top 5), but it appears the pool might be 7. Denny, you absolute wizard, I was not expecting that.

Okay, commit and put down your preferred run. These are your only options.

Lobdell and his two writers got lumped because I don't think you can actually separate out the three of them over those issues.

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lebaronlordking · 2 years ago

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Saturday Afternoon Reggae Show DJ LeBaron Lord King June 10, 2023 [email protected] kpoo.com

SaturdayAfternoonReggaeShow

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graysoncritic · 11 months ago

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

During a discussion, Dick Grayson Fan C explained the importance of a balanced hero and villain dynamic by describing their relationship as inherently “symbiotic.” The two, after all, are interlinked, and the success and failures of one affects the way the audience perceives the other. When the audience knows that the hero will win the final confrontation, the questions surrounding how they will do so and what price they’ll pay to achieve said victory is what creates tension. In other words, the way in which a struggle unfolds is just as, if not sometimes more, important than its outcome.

Note that this symbiotic antagonistic dynamic is not limited to physical confrontations. A good hero-and-villain relationship is also an exploration of the protagonist’s psychology, their motivations, and the thematic questions of a story. A well-crafted villain should not only be providing a challenge to the hero in the battlefield, but also call into question the truths — or lies — that the hero believes in.

Taylor’s antagonists fail to provide Dick with any such challenges. And, as such, they fail to provide Dick with the opportunity to truly demonstrate who he is and what values Nightwing embodies

To prove my point, I wish to compare Taylor’s handling of Blockbuster with that of Chuck Dixon and Devin Grayson. While I considered also analyzing Heartless in detail as well, because the main Heartless confrontation is currently unfolding as time of writing, and because my main gripes with how Heartless was handled during the beginning of the run have already been addressed in other parts of this essay, I opted instead to keep my mentions of him brief. Furthermore, not only does Taylor’s parroting of Dixon’s and Grayson’s runs makes the comparisons between their Blockbusters unavoidable, but his take on Roland Desmond perfectly demonstrates how his simplistic morality contradicts the nuanced themes of social justice that seem to interest him.

(Similar to an earlier disclaimer I made on Dixon, I want to make it clear that just because I am comparing Grayson’s run favorably to Taylor’s, it does not mean that I am unaware of the issues present in her own story, nor that I disagree with much of the criticism directed at it. Despite enjoying much of what she wrote, I also readily concur that there are problematic elements to it, and I often found myself questioning her intentions as I was unable to discern them. But that is something that would deserve its own essay and I do not want to further derail this one by discussing the extensive controversies about Grayson’s run and the way it is often regarded by Dick Grayson fans. Regardless of one's opinion of Grayson’s statements, I believe it is unquestionable that she handled Blockbuster’s ruthlessness and the way he personally terrorized Dick through a form of targeted persecution that was mentally and emotionally torturous was leagues above the generic intimidation tactics employed by Taylor’s Blockbuster.)

When I claim that Taylor’s characterization of Blockbuster reveals his simplistic morality, I do not mean to imply that I wish for Blockbuster (or even Heartless, for that matter) to be sympathetic. I do not believe that they must have redeemable qualities that endear them to the reader in order for them to be interesting. While I enjoy the tragic villain trope, I’m also a big fan of the terrible villain who gets under your skin and inspires such hatred that you cannot wait to see them defeated. I believe that just as a person can enjoy both comedies and dramas without thinking one genre is superior to the other, we can also have all sorts of villains and enjoy them on their own terms.

That being said, I do expect villains to be interesting. I expect them to be meaningfully contributing to the story not only in terms of narrative conflict, but in challenging the protagonist, in creating stakes, and in being in conversation with the themes explored in a story, whatever those themes may be.

So know that when I am criticizing Taylor’s villains, I’m not doing so because I wish they were completely different characters from whom they were intended to be. When I critique their simplistic morality, I do so because Taylor invited such criticism when he coated his run in the veneer of social and political justice commentary by alluding to real world problems and trying to show how Dick Grayson would resolve them.

Let’s start by defining who Roland Desmond is, what conflicts his presence generates, and what he is meant to stand for in the narrative.

When examining Redondo’s design for this character, their intentions come through almost immediately: Blockbuster is meant to be threatening, corrupt, and ruthless. He is meant to be the type of oppressor who enriches himself at the expense of others. He yields his power to remain on top of the food chain, shamelessly bribing politicians and threatening his enemies. He will stop at nothing to retain control, he will not hesitate to destroy those who so much as dare to think about standing in his way. He has no sympathy for others, he does not care about their suffering, and he will gladly sacrifice their lives and the lives of their loved ones to get what he wants. All of these characteristics are physically manifested in his design, in which his oppressive frame demonstrates how he overpowers others and his giant hands are shown to be the type that could crush one’s bones just as his shadowy reign over Bludhaven crushes the city’s soul.

(Taylor, Tom, writer. Redondo, Bruno, illustrator. Leaping into the Light Part Two. Nightwing: Rebirth. 79, e-book ed. DC Comics, 2021. pp 14)

We can see this also through the dialogue of the story. For example, in #81, Melinda gets sworn in as mayor and Blockbuster’s men, in order to demonstrate the power they have over the politicians in the city, give her a suitcase full of money as a representation of the bribes that will be coming Melinda’s way.

(Taylor, Tom, writer. Bruno, illustrator. Leaping into the Light Part 4. Nightwing: Rebirth. 81, e-book ed. DC Comics, 2021. pp 04)

Melinda, in order to continue her work undercover, plays into that by stating in a line that is as devoid of personality as it is of subtlety that, as mayor, she will make them all wealthier.

Similarly, in #83, Blockbuster states (also with little personality and little subtlety) that he owns the courts, that he sees himself as entitled to Bludhaven, and that because of the power he yields, he sees himself as invincible.

(Taylor, Tom, writer. Redondo, Bruno, illustrator. Leaping into the Light Part Six. Nightwing: Rebirth. 83, e-book ed. DC Comics, 2021. pp. 08)

Nightwing reaffirms this idea in that same issue when he says (also devoid of personality, subtlety, and this time charm or wit) that Blockbuster is “everything wrong with this city in one convenient, oversized package.”

This is what the conflict between Blockbuster and Nightwing is meant to symbolize — a struggle for the city’s future. Will Bludhaven continue to crumble under Blockbuster’s rule, or will Nightwing free it from his corrupt grip so that its citizens can finally have a chance to thrive? Even in the 1996 series, during both Dixon’s and Grayson’s runs, Blockbuster did not pose a threat to Dick’s morals or his world view. He did not make Dick question the way he saw people. Blockbuster’s targeting of Dick Grayson and his loved ones demonstrates how those with privilege go after the people who are fighting for change. Dick’s exhaustion and hopelessness mimics the same sense of helplessness one feels when it seems like the entire world is against you and the consequences for doing what is right can seem too great of a price to pay.

For this reason, Blockbuster does not need to be complex. He does not need to be sympathetic. But he does need to be powerful, threatening, and ruthless. He must push Dick to the edge, to make it seem like all it is lost, and in turn, when Dick finally pushes through and wins, it is a victory on both a personal and a societal level.

And this is where Taylor fails miserably.

Now, I have stated previously how, despite Taylor’s attempts, his rendition of Blockbuster comes off as flatly incompetent rather than threatening. I have discussed this under the context of how it influences the way Dick’s and Bludhaven’s portrayal. Now, I wish to dig deeper into this issue.

We are told of countless attempts on Dick’s life, but the only ones shown are overcome by Dick and his allies with ease. Either that, or the tension is undermined by a one-line joke or a general tone of casualness that fails to properly convey the stakes of the moment. Any threat that could have been created with Haley’s kidnapping or any intimidation tactic is destroyed by the gimmicky nature of the issue. This makes Blockbuster less of a threat.

And yet, we are told by Wally that Dick is stressed and overworked. But because there is not a lot of tension on screen, that telling rings hollow. The reader is not shown that Dick is overworked, and he is not shown truly struggling alone against the obstacles he does face, so this idea of Dick coming apart at the seams because of Blockbuster is not something the reader gets to truly experience. As a result, it often appears that Dick is coddled by his loved ones as everything always ends up alright with little effort made on their part. Rather than witnessing true danger take a toll on Dick, we are simply told this is something that is happening.

(Taylor, Tom, writer. Redondo, Bruno, illustrator. Get Grayson Act Three. Nightwing: Rebirth. 90, e-book ed. DC Comics, 2022. pp 16)

By comparison, when Grayson first wrote this same story nearly twenty years ago, she made it carry weight. She made it have consequences. While Dick was already coming apart from a myriad of different stress factors that unfolded on screen (overworking himself as Nightwing, as a police officer, saving Amy from Deathstroke, being fired from his job, Babs breaking up with him, and finally the circus fire), it was the explosion that made Dick fall apart, serving as the catalyst for his downward spiral. As Dick hunts down those Blockbuster employed, the readers get to see Dick’s exhaustion, Dick pushing himself to his limits, sleeping on fire-escapes while wearing his Nightwing uniform because he cannot bring himself to stop.

(Grayson, Devin, writer. Zircher, Patch, illustrator. Rekindle. Nightwing no 91, e-book ed. DC Comics, 2004. pp. 15)

Similarly, when the Judge returned to Bludhaven in The Untouchable, we see Dick keeping count of the bodies he left behind, we see Dick push through a bullet wound and beatings, we see him chase the Judge restlessly while neglecting his personal life. In both cases, we see the consequences of what Dick’s failure means, we see him struggle with those outcomes, we see what is at stake if Dick loses. And that, in turn, makes us not only care, but become invested in his success.

(Humphries, Sam, writer. Chang, Bernard, illustrator The Untouchable: Chapter Four: Infiltration. Nightwing: Rebirth no. 38, e-book ed. DC Comics, 2018. pp. 19)

By contrast, in Taylor’s run we never see any of that danger, and the few times we are presented with some threat, the conflict is handled with laughable ease. Blockbuster’s plots are foiled without Dick ever needing to do much of anything as he mostly relies on others to come to his aid. In this Nightwing solo series, the Titans, Batman, Robin, and Batgirl often do much of the hero-ing. Rather than putting the spotlight on Dick as a hero, Taylor lets others take the center stage, making this into an almost ensemble book. Because of this, the idea of Dick being near a breaking point, exhausted, and feeling unsafe wherever he goes is not supported by the narrative. By not giving Blockbuster a win, Taylor undermines the story he is attempting to tell.

This continues on through Nightwing #91. While Wally and Dick’s friendship were portrayed rather nicely, the villain that Taylor so ominously built up is taken down with an ease that is devoid of tension. The villain who is supposedly so good they’ve kept their existence a secret from Batman himself is quickly undermined by Taylor’s unwillingness to have his characters struggle.

(Taylor, Tom, writer. Redondo, Bruno, illustrator. Get Grayson Act Three. Nightwing: Rebirth. 91, e-book ed. DC Comics, 2022. pp 16-17)

Besides the poor execution of his plans, however, it must be stated that Blockbuster’s plans and his motivations are poorly developed. Again, I’m not saying that Blockbuster needs to have a single sympathetic aspect to his character, but he does need to be threatening, and he must have some internal logic. Looking at the story Taylor has created, I wonder… Why does Blockbuster care that Dick Grayson created the Alfred Pennyworth Foundation? Why does he care about the creation of Haven? I understand that Blockbuster is meant to be a corrupt crime boss who wants to retain control of the city, but how does Dick building Haven interfere with his plans? Why was one billionaire throwing his money around to help homeless youths a bleep in his radar? Blockbuster already has politicians and the police force in his pocket while Bludhaven’s systems were constructed to benefit him and those who endear themselves to him. So why is he so focused on destroying Dick Grayson and not Nightwing?

I am trying to restrict my comparisons to DC Comics media, but in this, I cannot help but think of President Snow’s portrayal in the Hunger Games movie adaptations. In a movie-only scene, President Snow tells Seneca Crane about the importance of having a winner in the games. He explains how it is about letting the people have hope. As he put “A little hope is effective, a lot of hope is dangerous. A spark is fine, as long as it's contained.”

In other words, giving the people a spark of hope to keep them distracted can help prevent mass mobilization required to disrupt the system. Give them a goal to focus on, and you can redirect their attention. It would, then, be far more sinister and make far more sense from a narrative standpoint if Blockbuster allowed Dick to focus on his one project so that instead he would not turn his attention to Blockbuster. Perhaps he could have attempted to manipulate the project from within, folding it into Bludhaven’s corrupt social systems. Dick would have been that little spark that Blockbuster could have cultivated, giving the people of Bludhaven "hope" so that they would focus on that and not on what is going on behind the scenes. The narrative arc, then, would focus on Blockbuster failing to contain the spark as Dick became the flame that breathed true systematic change.

I do not want to dwell too much into fixes, as I merely wished to analyze Taylor’s run and not to go full on script-doctor and rewrite the entirety of his story. Rather, I just wished to use that as an example of how Blockbuster does not have sound plans or internal logic, and that, too, contributes to how his character comes across as incompetent and nonthreatening, and as a result, even his supposed ruthlessness is undercut.

Taylor’s Blockbuster does not have a concrete goal. He wants power and money, yes, but for what purposes? And how does he acquire said power and money? Why is he threatened by Dick Grayson’s personal project? How are his intimidation tactics challenging Dick in an interesting way? How are Blockbuster and Nightwing meant to narratively play off each other? How are Taylor’s Blockbuster tactics any different from a generic villain with any other name?

To be fair to Taylor, I do not believe Dixon managed to fully nail this part of Blockbuster’s character. I did not find Dixon’s writing of Blockbuster to be a particularly compelling part of his run. However, Dixon countered this lack of substance by leaning into what Blockbuster was meant to represent — the system inside the machine that allowed evil to flourish. Blockbuster’s influence may have been everywhere, but Blockbuster himself was hardly ever confronting Nightwing directly. Dick was fighting a war on multiple fronts, and while he could stop an enemy on his right, two more appeared on his left. The way the struggle between Blockbuster and Nightwing played out during Dixon’s run emphasized why protecting Bludhaven was so difficult — because there were so many immediate crises that needed to be dealt with on the surface, it was difficult to get to the root of the problem.

This was why, during Dixon’s run, Blockbuster could remain a threat even if he would remain unseen for long stretches of time. And this was why when Dick stopped one of the underlings, Blockbuster himself could remain an intimidating force. Blockbuster’s machinations were varied — some of his plans targeted Nightwing directly; others Dick only stumbled upon when investigating a matter he believed to be unrelated. Furthermore, the limited number of allies and the prospect that Blockbuster could only be taken down for good once his grip on other institutions of power and influence were weakened emphasized just how this was no ordinary fight, but rather a mission requiring Dick to operate on multiple fronts and strategize on a long-term basis.

Taking down Blockbuster was a multi-step process. Each of said steps offered their own challenges and opportunity for storytelling, for fleshing out Bludhaven, and for allowing Dick to grow as the protagonist of the story.

Dixon’s approach to Blockbuster requires Blockbuster to stay in the background, looming over the city as Dick fights his way forward. It’s why he remains present for all 70 issues of Dixon’s run without undermining Dick’s competence or his dedication to his city — as a stand-in for corrupt power, Blockbuster himself is not an immediate threat even if he is the powerful underlining one. Dick must constantly fight others in order to eventually be able to fight Blockbuster. To borrow video-game terminology, Blockbuster is the final boss, and Dick must first go through a myriad of levels and smaller enemies before he gets to finally take down Blockbuster for good.

It was Grayson who made the conflict between Dick and Blockbuster personal and, as a result, far more sinister. After the death of his mother in a car pile up caused by Nightwing’s activities, Blockbuster was determined to get his revenge on Nightwing. After finding out Nightwing’s civilian identity, Blockbuster came up with a chilling plan that was specifically made to destroy Dick from the inside out. Blockbuster understood that Dick did not value his own life, but rather, those of the people around him. And so, he decided that rather than killing Nightwing, he would instead kill everyone around Dick, tormenting and terrorizing him until he felt as if he were poisonous. What was so poetic about this strategy was that it mirrored what, in Blockbuster’s eyes, was Nightwing’s biggest sin: the danger he imposed on others through his actions which resulted in the death of Blockbuster’s mother.

As you can see, in this scenario, Blockbuster has become more of a proper character rather than just a stand in for corruption. That is not to say that wielding power for self-serving purposes at the expense of others isn’t a factor in his character during Grayson’s run, but rather that while Dixon’s Blockbuster was more of an embodiment of an idea, Grayson’s was more human, with more personal motivations. One approach is not inherently better than the other, they simply lean towards opposing sides of the spectrum, and that affected the type of story told and the type of confrontation Dick and Blockbuster had during their runs.

Because Grayson took a more personal approach towards Dick and Blockbuster’s dynamic, she also fleshed out their relationship to the point that it was not generic. Blockbuster’s campaign of terror against Dick was intimate, for it was something that could only have played out between these two characters. And while Dixon laid out the groundwork to build Blockbuster into a threatening figure by the time Grayson took over the title, Grayson’s strategy to have Blockbuster go after those around Dick allowed her to have Dick win and lose simultaneously.

Blockbuster starts his campaign of terror slowly. First, getting Tarantula to contribute to Dick and Babs’ breakup. While she is not the sole reason why they break apart — they are shown to have had some tension long beforehand that comes from incompatible personalities and desires — she does become a factor in their falling out. This ends up isolating Dick even further, who was already stressed due to the fact he lost his job once his boss and superior Amy discovered he was Nightwing.

(Grayson, Devin, writer. Zircher, Patch Snowball. Nightwing. 87, e-book ed. DC Comics, 2003. pp 17 - 18)

Then, Blockbuster strikes closer to home by hiring Firefly to set fire to the circus Dick grew up in. While Dick was able to save many people who were inside the tent (and had his own life saved by Zitka), over twenty people lost their lives in this incident.

(Grayson, Devin, writer. Davis, Shane, illustrator. Flurry. Nightwing no 88, e-book ed. DC Comics, 2003. pp. 16)

While that certainly worked in breaking Dick’s spirit, it wasn’t until Dick’s building exploded that he realized this was a targeted attempt to get to him. All of those innocent people died not because Blockbuster was trying to kill Dick, but rather, because Blockbuster knew that their deaths would destroy him.

(Grayson, Devin, writer. Zircher, Patch, illustrator Avalanche. Nightwing no 89, e-book ed. DC Comics, 2004. pp. 12)

What follows is a downward spiral that demonstrates just how thoroughly Blockbuster is able to break Dick. Even as Dick gains new ground by taking out some of Blockbuster’s hired assassins, the threat still looms over him. And even when it seemed like Dick finally found a way to take down Blockbuster for good, that hope is snatched from him. The anger and helplessness Dick experiences in this moment truly speaks to the same feeling many of those who stand up against their oppressors feel whenever they are faced with setbacks in their constant battle.

(Grayson, Devin, writer. Garcia, Manuel, illustrator Flashpoint. Nightwing no 92, e-book ed. DC Comics, 2004. pp. 21)

The carnage continues. The reporter who had uncovered Nightwing’s identity and just so happened to be standing next to Dick is mercilessly shot dead in front of Dick’s eyes.

(Grayson, Devin, writer. Zircher, Patch, illustrator. Slowburn. Nightwing no 93, e-book ed. DC Comics, 2004. pp. 07)

And as Blockbuster chases Dick down, putting others in harm, we can see as Dick tries to protect innocent people around them that Blockbuster will not stop. He will not rest.

(Grayson, Devin, writer. Zircher, Patch, illustrator. Slow Burn. Nightwing no 93, e-book ed. DC Comics, 2004. pp. 10-11)

Blockbuster says it himself in a speech where he lays out exactly what his plans for Dick are. Dick is at a breaking point. The enemy, huge and impossible to overcome, towers over him. As the climax reaches its crescendo, Blockbuster asserts his power by mocking Dick and laying out a future in which Dick can never escape this hopeless terror. This city belongs to Blockbuster. Dick is powerless. There is no winning.

(Grayson, Devin, writer. Zircher, Patch, illustrator. Slow Burn. Nightwing no 93, e-book ed. DC Comics, 2004. pp. 13 - 15)

This speech is visceral. Personal. Evocative and filled with character and emotion. These words could not have been uttered by anyone else but Grayson’s version of Blockbuster. And they could have not been directed at anyone but Dick at this very moment. This speech has specificity that was purposefully crafted to raise the tension of this moment to its fullest potential.

By comparison, Taylor’s “I am this city” line is generic. Like much of his dialogue, it lacks character — nothing about what Blockbuster says feels distinctive to him. Nothing sets it apart from how other characters speak in Taylor’s world, and nothing about it is unique to this particular confrontation. Even the way he bangs his hands on the ground like a toddler throwing a tantrum (and resulting in Dick’s second unmasking in this run) is childish and undermines the tension of what is meant to be a climatic moment.

(Taylor, Tom, writer. Redondo, Bruno, illustrator. The Battle for Bludhaven’s Heart Part Four. Nightwing: Rebirth. 95, e-book ed. DC Comics, 2022. pp 20)

The themes in Grayson’s run are not the same as the themes in Taylor’s run. However, Blockbuster still invokes the threat of an oppressor. By isolating Dick from his support system, his terror and the helplessness it generates are intensified. Rather than making Dick question his own morality, he makes Dick doubt his abilities to be a hero.

While Dixon used Blockbuster’s intimidating build and power to explore the ways in which systematic corruption is responsible for the immediate evils we encounter in everyday life, Grayson used those very same characteristics to explore how one copes with being oppressed on a personal scale. Grayson’s Blockbuster pushes Dick to the darkest place he’s ever been, and the aim of her run was to see how he would be able to put himself back together again after he lost faith in his ability to make a difference.

Those two runs demonstrate how Blockbuster’s grip on power can be used to oppose Nightwing in two very different ways. Dixon’s approach requires Blockbuster to stand at a distance, the unseen machine that Dick will have to eventually destroy. This allowed Blockbuster to remain Nightwing’s main opponent for all 70 issues of Dixon’s run without ever calling into question Dick’s competence or his dedication to his mission as Blockbuster, the themes he embodied, and the struggle Dixon built clearly signaled that, no matter how great Nightwing was or how much he might wish to do so, the circumstances were not at a point where Dick could take on Blockbuster and succeed. By contrast, Grayson shifted Blockbuster from a long term, simmering threat to an immediate and personal one. This, though, also meant that the conflicts in Grayson’s run were more internal than those of Dixon’s. While Blockbuster was the enemy, the true antagonistic force that Dick would be forced to battle throughout Grayson’s run was Dick’s depression, his self-loathing, and his self-doubt. For this reason, rather than standing in the background while others did his bidding, Grayson’s run pushed Blockbuster to center stage. As he became an urgent threat who was costing people their lives every minute he roamed around free, apprehending him was no longer something Dick could afford to create a strategy around — it was something that demanded prioritization.

Nearly twenty years later, Taylor’s attempts to merge these two approaches only serves to lessen Dick’s competence and Blockbuster’s threat. Like Dixon, Taylor uses Blockbuster to represent, as it was plainly stated in his run, everything that is wrong with Bludhaven – the men in power who “have everything and still want to take more.”

(Taylor, Tom, writer. Redondo, Bruno, illustrator. Battle for Bludhaven’s Heart Finale. Nightwing: Rebirth. 96, e-book ed. DC Comics, 2022 pp. 08)

And yet, it is Grayson’s plot beats that he copies by having Blockbuster personally target Dick in a myriad of unsuccessful ways.

While Grayson’s Blockbuster targets Haly’s Circus, Taylor’s Blockbuster targets Dick’s dog, Haly. While Grayson’s Blockbuster successfully kills Dick’s neighbors, Taylor’s Blockbuster fails to kill Dick’s neighbors thanks to Melinda and Wally’s intervention.

Because of this personal persecution, Blockbuster becomes Dick and his allies’ priority. However, because Taylor’s Blockbuster’s actions never have any negative consequences; because the humorous tone is always undermining the tension; and because the reader does not get see Dick struggle or fail against Blockbuster’s attempts the way he does in Grayson’s run, Blockbuster’s does not come across as the larger than life villain he is meant to be. Rather, his constant failures, his generic dialogue and unclear motivations, and his straightforward intimidation tactics make him more into a fumbling fool whose powerful position is incidental rather than the result of merciless oppression.

And yet, he becomes Nightwing’s priority. Thematically, Taylor’s Blockbuster is meant to imitate Dixon’s, but the narratively he acts like Grayson’s Blockbuster. This makes it so he is more of an immediate threat than Dixon’s villain, but less effective in his terror tactics than Grayson’s.

With the consequences of Blockbuster’s crimes being non-existent plot-wise, the stakes of the plot are never elevated. Blockbuster’s threat remains abstract because in Taylor’s run, everyone who is not an explicit bad guy has plot armor so thick that they cannot be forced into an uncomfortable on-screen situation for more than two or three pages at a time.

The clashing of theme and plot create enough of a dissonance as it is, but the presence of Heartless, who is actively and brutally murdering people and leaving children orphan, only deepens the problem. Heartless’ gory crimes not only overshadow Blockbuster’s failed assassination attempts, but the sheer amount of people who have fallen victim to his deeds creates an urgency and a tension that demands to be resolved.

Though Dick is aware of Heartless' existence, he does not make the serial killer his priority. When Grayson made Blockbuster’s threat more immediate and Dick became aware of the rising body count, stopping Blockbuster became his sole focus, to the detriment of his own health. Dick’s obsession with catching Blockbuster at all costs helped add to that intimidating aura around him.

Humphries understood this when crafting the dynamic between Dick and the Judge in The Untouchable. Heroes and their villains have a symbiotic relationship. When the Judge kills people in brutal ways, Dick jumps into action and stops at nothing until he catches him. This shows the audience that the Judge is a threat to be taken seriously, and it shows Dick to be a hero who will always put others first. When Dick fails to take the same approach with Heartless and instead focuses on Blockbuster, Dick comes across as an incompetent and self-centered.

(Humphries, Sam, writer. Chang, Bernard, illustrator. The Untouchable: Chapter One: Hunter. Nightwing: Rebirth no. 35, e-book ed. DC Comics, 2018 pp. 20)

At this point, one might be wondering why high stake conflicts and ruthless villains are even needed in a Nightwing comic. I have seen many people defend Taylor’s writing by claiming that they enjoy the fact that it has no tension. They like the easiness of it, the slice-of-life nature of his storytelling. And while even his slice-of-life writing is not really my cup-of-tea, I can understand this sentiment. Taylor seems to truly enjoy writing the more sitcom-aspects of Dick and Babs’ life together. It is not the fights, the mystery, the intrigues, the nuances of living a double life that interest him — it’s the taking care of the rescue puppy, the sharing of a pizza in the park, the two childhood friends finally getting to live an idealistic millennial adult life together without having to worry about everyday problems like work, rent, family troubles, or disagreements. He thrives when writing stories that remain static, with simple episodic plots that never truly lead to character development or a change in the status-quo. He excels in quippy yet straight-forward dialogue where things don’t need to be taken seriously.

And to be clear, I don’t think that is a bad thing. I don’t think slice-of-life or sitcoms are a lesser art form than dramas or action series. Like many people, I too, have been comforted by that type of entertainment. I, too, find escape in those sorts of stories. I daydreamed about a life where I could just enjoy time with my friends without thinking about work, where the worst problem I face is how to avoid going to a party without appearing rude. Those stories have value, they have their place in our culture… But Nightwing's solo series is not that place.

Now, this will probably be the one of the most controversial things I will say in this entire essay, but despite my love for Nightwing, I do not believe that the Nightwing mantle is Dick’s ultimate true form.

In DC Secret Files: Nightwing Secret Files #1, Dixon explores the aftermath of Dick being fired as Robin by having Dick confess, with a certain amount of shame, that he always thought that he would eventually become Batman. Bruce understood that and he was preparing Dick to be his successor. Losing Robin, then, means losing any certainty Dick has for his future. Suddenly, he is adrift, not only having lost Robin, but also Batman. And that’s when Clark tells him the story of Nightwing.

(Dixon, Chuck; Grayson, Devin; Peterson, Scott; writers. Ha, Gene; Scott, Damion; Land, Greg; Stelfreeze, Brian; Guice, Jackson; Eaglesham, Dale; Floyd, John; Jimenez, Phil; Brown, Eliot R.; McDaniel, Scott; Nolan, Graham; Rosado, William; Kuhn, Andy, illustrators. DC Secret Files: Nightwing Secret Files #1. DC Secret Files: Nightwing Secret Files #1 no. 01, e-book ed. DC Comics, 1999. pp 15)

Personally, I think there’s something really special about that idea. The Nightwing story grounded Dick during one of the most uncertain times in his life. Dick wanted Robin and Batman, but once both were taken from him, he created Nightwing as a way of coping with the trauma of having his identity, future, and certainty taken from him.

Braxi concludes his essay On Superman, Shootings, and the Reality of Superheroes by saying that “I don’t need Batman to end homelessness. I need Batman and Superman to provide moral and spiritual guidance to show us a better world is possible. I read Batman to transform trauma into will power.” (Braxi, Steve, “On Superman, Shootings, and the Reality of Superheroes” Comics Bookcase, September 2021)

The same, I believe, is true for Dick. As the character created to accompany Bruce and mirror him in as many regards as he foils him, Dick transforms trauma into power. He makes his own suffering a source of good.

As I said, I do not believe Nightwing to be Dick’s ultimate, truest form. I believe that to claim that Dick’s only happy ending is to have him be Nightwing not only diminishes the importance that Robin and Batman played in his life, but it also undermines what is so unique about Nightwing as a mantle.

Dick loves being Nightwing. Nightwing is an extension of who he is. But Nightwing is not the only happy ending Dick could have had, and to treat Nightwing as inevitable is to ignore the fact that Nightwing was born out of a trauma and a loss that could have been prevented had the circumstances that led to Dick losing Robin been different. Nightwing means transformation. He means change. Nightwing is a phoenix-like Kryptonian myth, raising himself from the ashes. But for the ashes to exist, a deadly fire must first occur. Nightwing, this great hero of light, can only be born out of pain. He can only arise from conflict.

This is one of the things that makes Dick so special. When he is overpowered, he does not give up. When he is hurt, he transforms that pain into power. No matter how many times he loses, no matter how many times he is lost, he always rises again, with a beautiful smile and an unwavering kindness that inspires others — including Superman, especially Batman — to do the same.

That is why a Nightwing story needs conflict. This is why he needs ruthless villains. That’s why a Nightwing story needs the occasional failure. Because it is only when we see Dick at his lowest that we also get to see him overcoming darkness, showing why he is the best of the best and why we love him so much.

#nightwing #dick grayson #anti tom taylor

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