#War Games

[bamboozled-distress]

trans rights!

[jemkebaby]

Another illustration for @lovelyelbowleech’s „All’s fair”.

More fluffy this time.

[thnksfrthmmrs]

[newpartnerincrime]

[a-bad-case-of-the-stephs]

Let’s talk about the significance of how Stephanie Browns first ever appearance is tied directly to a TV broadcast about Batman, and how it perfectly explains why she's such a remarkable character.

Detective Comics #647

The full sentence the TV broadcaster says is “It’s not up to some masked vigilante to protect our citizens …. No matter how good his intentions…No matter how noble his cause”.

This scene asks us to compare the characters of Batman, who the statement is textually about, and Stephanie, who is viewing it and (presumably), being inspired by it. The panel itself seems to encourage use to try to apply these lines to Steph instead of Batman, framing the latter proclamation directly above her head, almost like a text box telling us this information about her. If we apply these lines to her, we can see an idea emerge.

There is this figure, who is not only not necessary, but unacceptable on the face of it, “…No matter how good [her] intentions...” / “…No matter how noble [her] cause…”

The first time we see Stephanie brown, she is being showcased alongside a condemnation, which is followed by her disregarding the message of this broadcast, and appearing for the very first time as Spoiler.

Dismissal and Stephanie ignoring this condemnation continues on to be one of the central facets of Stephanie’s character. In the same introduction arc we already see the dismissal/disregard dynamic established.

Batman and/or Robin tell her to Fuck Off, she chooses not to:

Detective #649

This pattern continues on for some time. She is dismissed by Batman

Robin #16, Robin #26, Robin #50 (1993)

And by Tim Drake/Robin:

Robin #25, Robin #35, and Robin #26 (1993)

And by her own mother:

Robin #71 (1993)

When she finally becomes an official part of the team in 2001, there is a break in this pattern. But, as always, Stephanie is eventually pushed out again:

Gotham Knights #37 (2000)

But, as always, Steph says “fuck that”, and refuses to stop.

Even in the face of dear friends agreeing she should give it up.

Batgirl #38 (2000)

And when Steph is brought in as Robin, she is again dismissed, in this case “Fired” soon after. She doesn’t quit of course, leading to the disastrous events of War Games.

Robin #128 (1993)

And when she comes back from being “dead” she is dismissed again, by Robin.

Robin #182 (1993)

This isn’t every time someone tells her to quit being Spoiler, but instead a showcase of how prevalent the Dismissal/Disregarding dynamic is for her character.

I am working on two other posts, one which will explain in depth Why the way she was “fired” as Spoiler has everything to do with Bruce Wayne’s own hangups and emotionally manipulative quirks and very little to do with her own skill level. The other will analyze why she feels the compulsion to be keep being Spoiler even after having Every reason to quit and being told to do so hundreds of times.

However, for the purposes of this post, all that matters is that this Dismissal/Disregarding dynamic exists and is a huge and reoccurring part of Stephanie’s character.

Whether or not you think she “deserved” how often she was rejected, and whether or not you think her disregarding the rejection was “good” or not doesn’t come into play here.

For now, let’s focus on the implications this dynamic has for her character in a meta sense, as a character who is used and discarded.

A character who is for all intents and purposes, the narrative punching bag. She endures character dismissal and belittling, three separate backstory instances of sexual harassment as a child and teenager, teenage pregnancy, abuse, taking care of a parent struggling with addiction, brutal and (debatably) sexualized torture, character assassination, death, retconned death, and further character assassination until 2009, where she finally gets her own solo comic, and a modicum of respect. The thing that separates the horrible shit Stephanie goes through and the bad things that happen to other characters is only rarely are Stephanie’s struggles treated as significant on their own, and almost always her narrative is used for drama or to prop up Robin Tim Drake’s plot. Very rarely does she get treated with the care and attention her character merits.

But let’s go back to that news broadcast, all the way back in Detective #647. How does she take it, when we are told, when Stephanie is told, first thing, straight out of the gate, plain and simple: No matter how good your intentions, no matter how noble your cause, you is not enough, or you’re too much, or your just not right?

It is met by a triumphantly tragic: “And?”

Stephanie hears from the VERY start the same refrain she will hear for years and years: she is not good enough, she needs to go home, she needs to quit and she does the exact thing she will continue to do every following time she is told this: she puts on the damn Spoiler outfit and she still tries anyway. Again and again.

The next time we see Stephanie Brown after this, the second time we ever see her character, she has donned the Spoiler costume, and she’s got to work. “And?” She seems to say. “As if!” She seems to shout. What a perfectly awe inspiring thing, and what a perfect summary of what makes Stephanie Brown so damn cool.

For better or worse, you cannot keep her down. I love Stephanie Brown so much.

And if you want to read a comic which understands this, which treats the terrific character of Stephanie Brown with respect and love, and which for the first time maybe ever lets her stubborn refusal to give up go her way? Read Batgirl (2009)!!

Batgirl #3 (2008) & Bruce Wayne: The Road Home - Batgirl (2010)

[horsechestnut]

The dichotomy between Jason dying because he disobeyed Batman and Stephanie dying specifically because she was trying to follow his rules is so good, and yet so under utilized.

[chaichai-draws]

It’s okay Aang, eventually (right,,,?🔪)

Ahahaha,,, hahaha,,, sorry @lovelyelbowleech I know there’s more to take away from the last two chapter of War Games but mmmm aaaah hmmm uhhhh

[msbigredmachine]

This was back in June.

Dear wrestling fans who complain about everything, please pay more attention to the product you claim to watch.

[steakeater12345]

Puters :3

[utter-dismae]

from Chapter 31 of @lovelyelbowleech 's wonderful fic War Games cause I am in LOVE with it

it's so smartly written and I genuinely love the more realistic depictions of war and the consequences it has(plus these two's relationship is adorable af)

[arimantin03]

“I didn’t mean over the bending, Aang. I mean, of them being closer.” Sokka put as much insinuation into the word as he could.

Instead of reacting the way Sokka expected, Aang looked at him with concern. Then he reached out and patted Sokka on the knee, his whole face radiating sincerity. “Katara would never do something like that. You don’t have to worry.”

Sokka was confused, and suddenly felt like they were having a different conversation. But he grinned back, still trying to puzzle it out.

“Zuko wouldn’t either. He’s very loyal,” Aang added.

Fanart for War Games by the very super talented @lovelyelbowleech. Seriously if you haven't checked out this fic yet it's life changing.

Scene from Ch. 31. Two equally misinformed individuals try to puzzle out a conversation with each other. (They are both very confused.)

[itsrheasgirl]

Seriously just end my life.

[bellart]

Oh how it must suck to be you

[hollow-keys]

War Games and Under the Red Hood being right next to each other makes me lose my shit. There is no gap between these stories and Judd Winick even wrote part of War Games but he doesn't seem to realise how wild it is to follow that up with UTRH.

War Games is about Batman trying to gain control of Gotham's gangs as harm reduction, not stopping their activities but monitoring and controlling them via his ally, Orpheus, who is propped up to lead all the gangs in a coalition. He is unable to do this and it all ends in disaster.

5 seconds later, Jason returns to Gotham and gains control of most of the gangs real quick and then takes out his competitors. He does what Bruce was unable to do and for the same reason, to reduce harm.

But Bruce's actions are framed as heroic and Jason's aren't. Judd Winick himself said "Along with handing out his own brand of justice, he does believe that crime can be controlled. Batman had said it makes you a crime lord. Jason doesn't think it makes him a crime lord at all. He thinks it makes him a much more effective Batman."

I must ask how is it that this makes Jason a crime lord but Bruce wasn't one when he was trying to control the Gotham gangs five seconds ago. How is Bruce on his high horse like "Jason is a crime lord in denial"? What was he five seconds ago then?

And yeah, Jason is more violent than Bruce was of course, but instead of trying to work with him and get him to his side/to be less violent like he did with the other gang leaders, he immediately goes on the offensive.

Then Bruce slits Jason's throat to save Joker right after firing Stephanie because "We don't use potentially lethal force." What Steph did was markedly less dangerous than slicing someone's throat. The hypocrisy of it all.

[begesus]

Hey War Games art, cause I had to yk?

I think this scene is from chapter 9???? Village shopping episode. Sokka, more oblivious that somebody’s into you than a dating sim MC.

Also @lovelyelbowleech thanks and keep doing the lords work. I will likely be drawing more scenes from the fic to cope between updates.

Bonus: