#babs petty

[shesthespinstersimmer]

The caper (1)

Previous / Next / Beginning

BABS: What? Why are you looking at me like that?

TURK: We're not hanging, are we? What are you up to?

BABS: Come on - you said we never hang anymore.

TURK: I did say that. So your plan is for us to "hang" in front of this club all night? Just tell me the truth, Babs.

BABS: Okay. Remember that cop Lo told us about?

TURK: The one she said has something on her Unc?

BABS: One in the same. I know Lo wasn't telling us everything, so I did a little digging.

TURK:

Lo's gonna kick your ass. If she wanted us to know more, she would've told us.

Oh no. What did you find?

BABS:

I did some checking. That led me to the correctional facility, which lead me to a guard who spilled the tea.

Apparently, whatever she's got, she's busting it open for Unc as payment.

TURK: That doesn't make sense. Lo's Unc loves her family.

BABS:

Exactly. So you know it has to be something big.

And guess who likes to get drunk on her nights off and is in there right now, knocking them back?

TURK: Tell me you set up some cameras.

BABS: Even better. I was thinking of us doing a caper - you know, like the old days?

TURK: Hold on. I don't know about that.

BABS: Come onnnnnn! I have all the receipts; we could nip this thing in the bud.

TURK: And lose our jobs. That is, if Lo doesn't kill us first.

BABS: You know what they say - it's better to ask for forgiveness than permission. Come on... pleeeeeease??

( Turk & Babs , curtesy of @cinamun ‘s Cinnaverse 🎩 )

[papaiyatree]

ong seeing this wasn't even dramatic to me, i literally just let out a chuckle and thought to myself "this could've been avoided if we had her on the mission as oracle"

[bamboozled-distress]

every time I see people hate on Barbara because apparently her whole character has been simplified to just be a love interest for dick because they like him and kori more, all I think is that audio thing where it’s like “you are a GIRL why are you hating like a MAN”

[redsray]

my favourite part of the Wayne Kids being, you know, the Waynes, and popular celebrities is the fact that these are teenagers and young adults who are given ... celebrity powers. and i know they're stupidly petty with them. every time you log onto twitter you'd see 3 of them engaged in a sibling argument, completely uncaring that it's being broadcasted to thousands of people

Dick, tweeting: Tim stole my sandwich today, hey siri how do i un-adopt a sibling?

Tim: ??? I didn't steal your sandwich??

Dick: Then who did??? It was there this morning and you were the only one in the manor the entire morning??

Tim: Dick, my unfortunately kind of favourite brother, I was not in the manor today

Dick: YOU WEREN'T?!?!?

Tim: no, I've been in my apartment all week. did you hallucinate me?? LMFAO

Cass: I was there this morning.

Dick: Oh. No wonder then??? You 2 look too similar, one of you needs to cut your hair

Tim: Not it

Cass: . . .

Tim: on second thought, maybe it's time for a haircut

Cass: :D <3

Tim: Love you too, Cass

Random Twitter User, quote tweeting the last tweet: So did you ever find out who took Dick's sandwich????

Cass: Jay did.

Dick: JAY DID?!?!?

Cass: Oh. Did you not know?

Dick: NO?!????

Cass: Oh. @/jason start running. Sorry.

Steph: Guys Jason might deadass die again Dick is ONTO him

Random Twitter User: ... Again?

Steph: hardly the point rn, jared

Babs: Why did Jason just climb in my window asking me to hide him

Tim: he's running from Dick, lol

Babs: Oh, why?

Tim: he ate his sandwich

Babs: Got it, he's hiding behind my couch now, screeching about Cass betraying him.

Dick: BABS DON'T MOVE. DON'T LET HIM LEAVE.

[tarrare-big-naturals]

Not to be a womanchild on main but I would kill for cotton dolls to be more of a thing here I would kill to have a lil outting with friends and we get hot pot or boba or some shit and talk about our lil blorbos and blorbinas!!! I wanna go to a doll salon and get matching hair and outfits or accessories with my teeny tiny gals!!!! It's not faaaaaiiiiiirrr!!!!

Don't say to just go to the American Girl place or Build a Bear or I will maul and kill you its not the same. Trust me.

[batcasscainman]

Bruce; my kids are so innocent and can do no wrong!

Dick: cheated on Kori with Babs while engaged

Babs: hacked the American government for petty reasons

Helena: framed a semi innocent man for guilty man to walk free because of plan

Cassandra: killed and revived a man with one two punches to teach him what death feels like

Jason: is a crime lord

Tim: blew up LoA bases and prob killed thousands

Steph: stole a million dollars from Bruce

Damian: almost killed a zookeeper to free a tiger

Duke: blew up a warehouse because it would make his job easier

(This all happened that day)

[fanaticalthings]

Most children, once they've grown up and moved out, sometimes come back to visit their parents to use their house as a sort of personal grocery store

And with Bruce being a literal billionaire whose house is always stocked with food and supplies, the batkids (that aren't living in the manor) definitely visit just for the purpose of taking shit for themselves.

---

For Dick, it's just small things, food and maybe some utensils. Bruce is barely in the kitchen so he never notices dishes go missing, and there are like 10 other children in his house so literally any one of the younger kids could've stolen food in the middle of the night, so he doesn't bat an eye at all.

Babs probably steals Bruce's hardware or his tools from the batcave. Sometimes, if she's nice, she'll leave a note.

Steph probably takes shit that no one will notice at the time but will absolutely be annoyed about when they need said thing. Stapler, soap bars, the microwave plate, etc...(Taking after Jason, she steals the hub caps off the batmobile's tires)

However, for Jason, once his relationship with Bruce is somewhat decent, of course he's gonna be petty and start stealing the more expensive shit in the manor for his apartment. Jason's microwave is broken? The next day, the cave's self-made and enhanced microwave made by Bruce for convenience is just gone.

Jason's feeling a coffee maker for his place? The one in Bruce's study disappears, too.

---

At first, Bruce thinks he's just sleep deprived, but then much bigger things start to go missing, like the whole TV and couch set in the living room. He assumes the younger kids are just playing pranks on him (sounds like something Stephanie would do) but then Bruce notices that the thief deliberately avoids stealing things from the kitchen, which is where Alfred is most of the time, and suddenly Bruce has an irritated clue on who the culprit is.

At first, he doesn't say anything, until one day he comes back, tired from a patrol, and is about to log in all the info on the computer only to realize his batchair is gone. That's when he texts Jason a blunt "If you really need things for your place, you can just ask me. I'll buy them for you." (As if Jason himself isn't loaded from his totally legal activities)

---

So now Jason's pettiness levels increase tenfold, and oh, wouldn't you look at it, his bike needs some new tires, and he knows a great place to get some more.

One night, Bruce is just blearily getting up for a late night snack, only to see Damian scamper away with a...lamp? So Bruce immediately follows him into the foyer only to see ALL of his kids (sans the ones not living in the manor), trying to haul two arm chairs out the window, and they just stop dead silent to stare at him until someone whispers a nervous "Crap"

Bruce doesn't even have any energy to fight, he just pinches his nose and is all "What is the meaning of this" in his tired dad voice. And Duke meekly responds with "we wanted more chairs at Jason's place"

And suddenly it all makes sense. Not once did Bruce wonder how the HELL Jason managed to lug a whole 60in TV and a full couch set on his own in one night. Of course, he had accomplices. Bruce just turns right around and goes right the hell back to his room to sleep. He'll deal with this in the morning.

[fairy-lights-and-blobs]

I had a certain need to write SOMETHING fo this prompt, with the sheer potential for angst, and mild ragging on Bruce for his paranoia:

"AND DONT YOU DARE COME BACK, YOU UTTER SCUMBAG!!!!!" This was, perhaps, a solid 8/10 in the scale of "what could possibly go wrong?", Batman silently mused to himself as his patrol route had him stumbling across his oldest son, as Dick Grayson, rather than Nightwing, be kicked out of Daniel Crowne's door, leaving a solid footprint in his nice suit pants that he'd chosen to wear tonight for his meeting with Danny, as part of Operation "Honey Pot" (Bruce would like to leave it on the record that he vehemently denied that name, but Jason had taken it upon himself to ridicule each and every step of his and Dick's carefully crafted information extraction mission)

The latest string of Crime Alley children going missing, coinciding with suspicious business deals that seemed to benefit entirely the Crowne family and no one else, had set off Batman's paranoia alarms quite severely.

They needed someone who could get in close, investigate, and recover any files pertaining to any child trafficking and other suspicious dealings. With the company being run mostly by their adopted son, Danny, someone close in age, and of a similar background would be the best choice.

Thus Dick and Bruce ended up having to set aside their differences and work together, since Dick himself having been adopted into the Wayne family was a near perfect choice.

And considering Danny had never been ashamed to admit to himself being bisexual, Local Sweerheart Richard Grayson tried to put the moves on Danny.

Things appeared to be going well.

Until now. Dick had gotten caught looking through Danny's office. And faced with the anger of his "boyfriend" (sometimes, Dick would find himself awake late at night, thinking if what he was truly doing the right thing here) he had let slip his suspicions of Danny being involved in illegal dealings, chief among them child trafficking.

Needless to say, the Crowne Heir hadn't taken that news well. Suddenly, months of working hard to build trust between them, came crashing down with loud screaming, calls for Security, and Dick Grayson being thrown out, literally kicked out the door by the Crowne Estate Head of Security, with Danny hot on their heels, face marred with tears.

"RICHARD GRAYSON, YOU NO-GOOD, LYING SCUMBAG, PICK YOURSELF UP OFF MY DRIVEWAY AND WALK BACK TO YOUR DADDY WITH YOUR TAIL BETWEEM YOUR LEGS LIKE THE DOG YOU ARE!!!!!" Naturally, the screaming drew in people, Gothamites in general being too curious for their own good.

This might be turning out to be a huge mistake...however, Daniel Crowne had no care for whatever opinions Batman might hold, as he seamlessly went from wailing with anger and betrayal to a heartbreaking tone as he proceeded to dig Dick's social grave even deeper, walking out the door with a metal bat painted bright neon green slung over his shoulder. "Tell me, Mr Concerned Citizen, what have you done for Gotham? You claim I've been plucking children off the street, and selling them to the highest bidder, but did you ever bother trying to visit the charity I set up in Crime Alley? Because if you did, you would have realized your "missing children" were, in fact, adopted by loving families who will give them all the love they could ever need. I know your type, you only became worried about the Alley kids once the place started turning for the better. You saw chance at climbing the ladder and took it with both hands, no matter who you trample upon, right?"

Dick went to respond to that, probably try to defend himself and properly justify his concerns, but he had the aforementioned metal bat shoved in his face. "If what's about to come out of your mouth is how you had 'plausible suspicions' or 'it's all way too suspiciously timed' then I'm sad to disappoint, but the adoptions have been going on since the very start. All perfectly legal. But of course, no one notices Crime Alley until it's too late to do anything meaningful." And here, Danny took a deep breath, glared hard at Dick, and walked back into his home, leaving behind angry Gothamites, press circling like vultures, and a heartbroken Dick Grayson. "But I guess I shouldn't be surprised. Your love for me was as fake as that sunshine personality you put on for the cameras. You only ever wanted to discredit me in everyone's eyes. Be prepared to face a lawsuit, Mr. Grayson. I hope Daddy Dearest can bail you out. Because you'll get no mercy from me. Now take the sad puppy act out of here, and go find someone else to warm your bed and listen to your grievances. I'm done with you and your family. And, for Little Jason's sake, I'm praying your father wasn't involved in this."

The slamming of the front door rang with an air of finality, and missed opportunities.

And as Dick turned around to face the consequences of what he'd done to the guy that had quickly become known as Gotham's Sweetheart, Batman had a clear angle of Daniel falling to his knees and wailing, clutching at the Head of Security's uniform as the brick house of a man picked him up as if he was the most precious thing in the world and carried the boy upstairs.

Moments later, a light turned on in what appeared to be Danny's bedroom considering the stars glued to the ceiling and walls, and the boy's well-known love for astronomy, along with the bed, bookshelf and computer desk that had been installed in what had previously been a guest bedroom.

The disappointed frown that Alfred greeted him with made Bruce want to cry like he hasn't felt the need to do since he first went out as Batman. His dad was disappointed in him and Dick, and had no qualms making it know. And so was Jason, which made it even worse. Bruce never wanted to see his son look at him with such a betrayed look on his face.

DC x DP: The Adoptive Son

Danny Fenton gets lost in the Infinite Releams and without the Infinite Map, he has no hope finding his way home.

After wandering for weeks, he quickly realizes his human side is dying from lack of food and stress. With a heavy heart, he crashes lands in a new world, desperate for rest.

A new world that was seemed to behind in terms of technology. But he's not afraid of helping the world catch up if it means finding a way home.

He crashed in the middle of nowhere forest and after three days of walking by foot- too worn out to fly- he comes across Gotham.

Taking a page out of Vlad's book- as much as it makes him feel sick- he possesses people to get himself set up in the new world. He needs to find somewhere with enough money that he can build a S.O.S for his friends to find him.

And he needs resources to survive.

He finds a wealthy family who is so invested in breaking each other apart they didn't notice their sudden ease in wanting to adopt Danny.

Seemingly overnight, the Crowne family went from slowly collapsing to once more being at the top due to their adopted son Danny Crowne's genius mind. Despite his young age, his adoptive father allowed him to turn the family business from fashion design to medical and technical advances.

At age fourteen he sat within the board meetings slowly but surely taking over and raising the company's stocks and power.

They developed the first heart pumps, made leaps and bounds in cancer treatment, and created software and computer programs that and their prosthetics were the most advanced in the world.

There were rumors that the head design for all engineering projects- including the prosthetics- were all done by Danny Crowne. They were never confirmed.

Even business deals done by the Crownes were suspiciously so far in their favor many believed they were making deals with the multiple families of Gotham's underbelly.

That was also never proven.

Despite all the whispers about him, Danny Crowne was considered one of the brightest minds in Gotham. Everyone who spoke to him claimed he was a soft-spoken gentleman and was even compared to royalty from his regal composition.

Personally, Bruce has always had a bad feeling about Danny Crowne. He knows the boy is off in some way, all his Instincts scream danger when he's around.

At first, he was ecstatic to hear the Crownes had also adopted an orphan from a poor background. It had been a few years after he had gotten his ward, Dick. Despite it being five years since he first accepted Dick into his home, his ward had not made any friends besides Barbara Gordon. None of the elite children gave Dick the time of day pass making passive aggressive comments about him.

Then the news of Danny Crowne broke, and everyone knew he had practically been picked off the streets after the CPS had forced him into the juvenile hall as the only place that had space for him.

Just like Dick.

He had hoped that a similar past would help the two boys bond. He had tried pushing Dick into speaking to Danny, and had gone out of his way to personally invite the young man to a party he threw for all of Dicks classmates.

The first thing Danny Crowne did upon arriving at his house was step away from the crowd and study Bruce's home wiring. Dick later told him Danny made him feel strange, like the other boy would be one the loons they stopped during the night.

Bruce, stop pushing for their friendship.

Time moved on, but Crownes only grew in power, and by the time he took in Jason, Danny Crowne inherited his family assets after his adoptive parents mysterious deaths.

They began to look into Danny after Nightwing had discovered a trail of dangerous experiments from shell companies that all led back to Crowne Co. Jason also mentioned that a lot of street kids disappeared after Danny Crowne had turn his sights on them with a new charity program his company ran.

No one knew what happened to the kids and no one in the legal system seemed to care.

Bruce thought about the Crownes rise to wealth and felt sick. Had Danny been running a trafficking ring since his adoption? Had that escaped Batman's notice for four years?

Despite the fact they were still at eachother throats, both Bruce and Dick agreed to work togther to bring Danny Crowne down. How?

Simple.

Danny Crowne was openly bisexual and, according to Jason, who was half-raised by working girls, his eyes always followed Dick around the room.

Operation Honey Pot was a go.

(Danny didn't mean to stay here for four years but had built himself a home, and no natural portals were opening. He figured he could secretly construct his while helping abused kids find safe ways out of the city and start new lives. Technically illegal, no one had batted an eye when the kids vanished, so he figured getting them somewhere safe was more important. Indeed Batman had better things to do than track down kids in better foster homes. He test-ran the homes himself before placing the children. Yes, overshadowing made him feel bad, but he rather experienced the house before overshadowing the social workers into legalizing the stay under new names. He was sick of them sticking kids in juvenile halls just cause other foster homes were "out of jurisdiction".

At least his charities helped the age out kids succeed in life.

Now why was handsome Dick Grayson winking at him??? Gosh, that made him more nervous than all the lessons Clockwork forced him to take back when he was training to take the Ghost Throne. The classes helped him become one of the best CEO in the world, but they were also the reason he got into this whole mess to begin with. At least he looked regal when he spoke. )

[hewasanamericangirl]

[brucewaynehater101]

Imagine Tim holding Brucequest over the Justice League & even Dick & Jason's heads 💀💀💀💀

Heck Tim holding the Timestream incident over Bruce's head because Tim was the only person to actually do anything to save him

((Damian gets a pass because 1. He's a KID whose cult leading gramps was involved, how about No?))

((And 2. The priority for him at the time should have been unlearning the cult teachings of the LOA))

((and also all his other siblings. Alfred too since he has a job dammit))

Tw: Violence

I love petty Tim Drake so much. He deserves to be able to hold his trauma over the people who caused it.

Jason takes the last cookie? "You might as well take me back to Titan's Tower and slit my throat again."

Dick tells Tim he needs to go to bed? "Oh. I see how it is. I thought we talked about you questioning my judgements again, but I see I was wrong."

Alfred lectures Tim about his health? "Now you're concerned about my health? You should have thought about that before putting my mental health in peril for my sixteenth birthday."

Bruce is concerned with Tim's workload? "Maybe the next time you want me to take on less work you'll write a fucking letter instead of spreading vague clues no one else believes is actually from you."

As for Damian? They exchange verbal barbs for fun and take notes from each other. It confuses the hell out of the others because do they hate each other, or are they bonding?

Steph and Tim like to get into screaming fights with each other in public. It's never about their actual fights, but they like how Gotham reacts to it (bonus points if they end up in the news).

Tim and Babs try to sabotage each other's unimportant technology. That fifth tablet Babs hardly uses? Bam! Tim's made it so it plays music whenever it's on and the music can't be turned off.

Cass and Tim just make faces at each other. Bruce has been confused as hell when one of them randomly shouts in outrage due to the other twitching their eyelids wrong.

Tim likes confusing and horrifying Duke by telling him fun facts about the family. He'll tell them in the most damning way to watch the chaos. "The scar on Jason's neck is from Bruce choosing the Joker over Jason."

And that is Tim taking it easy on the Bats because he loves and cares about them (and because it's funny).

The JL?

Red Robin terrifies all of the members who doubted him. The terror doubles when they see him happily chatting with YJ or the Bats. The version of Tim the JL gets is a scarily competent and cold persona. They thought he lost the ability to smile until Red Hood (and who let a crime lord into the Watchtower???) grabbed Red Robin a peace offering Zesti.

[shesthespinstersimmer]

The caper (4)

Previous / Next / Beginning

DET. ORTEGA: Oh, y'all wanna play? I can look you up too - you better hope I don't find anything.

BABS: All I have to do is click "send"; after that, it won't matter what you do.

DET. ORTEGA: What do you want?

BABS: Know this - should you feel the need to keep destroying families, I'll feel the need to send my receipts to Judith Ward and Sumner Monahan, as well as the Honorable Sabrina Brussard.

TURK: Not for nothing, but maybe you should take your little freakum dress and find someone who's actually available before you lose your career.

BABS: By the way, I have that CO's number on speed dial. Have a good night, now.

( Det. Ortega leaves, dejected )

( To Turk: )

What are you doing?

TURK:

Trying to call Lo; best to get ahead of this and get it over with.

Voicemail. You know my nerves, Babs.

BABS:

We're fine. Don't worry. At worst, she'll be irritated for a second, then forgive us.

Besides... this gives us the rest of the night to ourselves... if you know what I mean.

TURK: You're the cutest little evil genius I know. You know that, right?

[umbrellajamming]

#Tim was totally normal about you bailing out to go spend time with the Titans Dick #totally did not take any advantage of it #why would he tell you about JPV Dick it is not good for your blood pressure if he does #why would he tell you that Bruce was a dick to him after the Boomerang thing if you'd left town Dick and were trying to recover #Tim is a big boy who can handle himself

#still chewing a bit on a convo I head with zahri melitor about Dick having to realize he's gonna have to be the one who explains to Jason #and Damian how things actually work in the family during the usual status quo #and that Tim working with you does not mean Tim trusting you at all if anything Dick can see the way Tim is working with them #and it's all red flags to Dick (tags via OP @tallochar)

Just got hit real hard by a drive-by idea where Flashpoint doesn't happen and Dick just takes a few months off to chill (read: Donna shows up and drags him off to have adventures now that Bruce is back in town and everything seems status quo again)

And when he comes back it initially looks like that set up so many fandom fics have where Tim has been isolating himself / been left to his own means and only works with the others out of politeness.

And the moment Dick clocks that that's what the others think is happening, he can straight up feel the grey hairs trying to show up, because while he had phone calls with Tim (who seemed to be coping better with everything that went wrong in his life) and Damian (with whom Dick did not talk about anyone outside of Damian and, occasionally, Bruce, which was already hard enough on Dick without bringing the others in) he had also thought that things had sort of started settling back into what Dick used to think as normal before Bruce "died" on them.

Except Damian and Jason don't know how to pick up on that sort of thing, Cass is still doing her Hong Kong / Journey of Self Discovery Thing as far as anyone seems to know / Bruce is CLEARLY (to Dick and Alfred and absolutely no one else) still communicating with Tim because he's on an even keel but also he must have done something to piss off Tim because Tim is doing the Politely Co-Workers Thing at Bruce (with Alfred's approval and support so Bruce must have fucked up REAL BAD) and it's stressing Bruce out so much that Dick can practically see the tension lines heading to a breaking point in the man why is no one else seeing the tension lines.

Plus Barbara and Dick were still on not-so-great terms when Dick split from Gotham, so he's not had much luck talking to her and some desire to call her but not enough to actually call her a lot, just some, which hasn't made Babs less pissed at him, so he's not getting information on that side and of course if Barbara is pissed at him and Tim is pissed at Bruce and Dick wasn't around for Tim to bitch about Bruce in person (and Tim would NEVER on a phone line, not even a secure one) then Dick is 1000% sure that Tim and Barbara have been having a shared and supportive bitch fest for however many weeks / months Dick was away that has just solidified them in a block of their own.

All of which means that Dick's little brother has been left unbothered, unnoogied and unsupervised for all the time Dick was away and like, sure, some people would think Dick would feel horrible for that and want to octopus-grab him and cuddle him but those people would be wrong because Dick is now honestly terrified to find out WHAT Tim has been up to without supervision and limits.

Between YJ, his civilian friends, his other friends in the superhero community, whatever new people Tim for sure rustled up, the lack of supervision on who Tim teams up with and for what, all the villain-frenemies he might have decided it was worth cooperating with, Tim being pissed at Bruce enough to keep a physical distance if not a communication distance...

And then, just as it is hitting Dick that, of course just keeping track on the phone was a bad idea to begin with why did he think that was a good idea and that what with Barbara and Tim in agreement and both Tim and Barbara at odds with Bruce and Alfred firmly entrenched in his usual If-Tim-Is-Handling-Master-Bruce-I-Will-Not-Hear-A-Thing-Against-The-Lad british politeness artillery position, this means that no one who would not enable him in the Wrong And Not Dick Approved Ways has been actually keeping as close track of Tim as he should have been kept track of (because *will smith hands memes* TIM!) ...

... Red Robin swings by, Azrael in tow, clearly going after Lynx.

And it's not that new Azrael that they had, which was still an Azrael but wasn't the Worst of the Azraels.

It's fucking Jean Paul Valley, who is supposed to be dead and clearly did not have the goddamn grace to decide to stay dead.

Dick, internally while outwardly having a BSOD moment: Tim. Tim you had just told Dick you were going to check out a couple of leads tonight. Tim why are you swinging from rooftops with JPV in tow. Tim why is JPV ALIVE. Why did you NOT tell Dick about it, TIM. TIM.

[sxnshxnxxnddxxsxxs]

Duke Thomas headcannons becuase please just write him as a black boy:

the first time there’s a summer rain at night after he moves into Wayne Manor Duke sets up the speakers and the floodlights and lives out his 00’s rnb music video dreams

after that Alfred will sometimes drive him around in the back of one of the cars when it rains at night because he doesn’t want his latest grandson to get hypothermia but understands that it is very important to live out 00’s rnb music video dreams

Duke teaches Cass the Usher watch this thing and originally they only use it to tell each other that they’re gonna do some dumb shit but then Cass decides she really likes it and uses it more than the actual sign

Duke and Cass have a theme song because they are besties and that theme song is black and yellow by Wiz Khalifa whenever it plays they drop everything to rap to each other and if anyone turns it off before it finishes they start it again even louder it becomes a great distraction technique for other batfamily members. they chose the song because of their uniforms but the first time a civilian sees how enthusiastic they are about the song they draw a different conclusion and they find it so funny that they definitely have to keep it as their theme song from now on

Duke lives a no shoes in the house life no matter who’s house it is or what everyone else is doing

He also keeps his Signal uniform exclusively in the batcave because no uniforms in the Manor seems like the natural extension for no outside clothes in bed

Duke sneaks scotch bonnets into the Manor kitchen generally timed with the occasions that Jason is around and in the mood to cook. Dinner those nights feature running eyes and noses from Bruce Tim and Steph along with all the milk in the Manor finishing. It’s great entertainment for Duke Cass Damian Jason and Dick

Duke has locs he lowkey thinks about bleaching the ends to match the aesthetic of his uniform but he’s unsure of if it will make him to conspicuous

When he first moved to the Manor he got pooled into the schedule to pick up hair shop (beauty supply store) supplies with the Fox’s because they’re all way too busy of people to be driving out of the way individually so it only made sense to add Duke to that. He and Tam also timetable his retwist appointments with her hair appointments for the same time

Duke is an instigator Jason and Tim will be having a petty squabble that is about to fizzle out but then Duke walks past them and just whispers a quick “if I were you I wouldn’t have that” and then an hour later a priceless vase is broken there’s holes in the wall and Tim and Jason have matching black eyes. Duke considers it a public service to provide Babs with entertainment for when Oracle hours a slow she agrees and doesn’t snitch on just how much shit Duke starts so he can get away with even more

Duke joins Jason and Alfred’s book club and the first book he picks is Beloved because like they’re in this big old gothic manor respect the aesthetic

One time Bruce walks passed Duke on ft to his friends and he’s performing “Wisdom” and Bruce thinks it’s something Duke came up with himself and is trying to be a supportive dad and is like “that’s great son” with a really strained smile and Duke just sticks to the bit like “you really think so?” bruce even more pained “yeah it’s amazing”

He also has exclusively satin pillowcases and gives everyone in the Manor a set because it’s good for the hair and therefore a good use of Bruce’s rich people money

Duke upon realising that he was gonna be adopted by a bunch of crime fighting pseudofurries and was going to join them in the crime fighting said this some white people shit and that’s why he chose Signal rather than some bioluminescent bird

[allthegothihopgirls]

i love domestic batfam as much as the next person, but for the love of god can we stop pretending like there's any point in time that they'd all be able to sit comfortably in a room with each other as family, with no social or moral circumstance obliging them.

if it isn't dick having his total rebellion phase, it's jason and his tensions with bruce and tim post-utrh. if it isn't that it's tim and his conflicts with well. everyone depending when you look. or damian struggling to see any of them as family. or not wanting to. or bruce just being straight up absent. or alfred's death. or steph's fakeout. or babs' paralysis. or the petty argument two of them had over breakfast this morning that has everyone on their toes for the forseeable future. do u get the point

[graysoncritic]

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.

[zahri-melitor]

Honestly the timeframe on which you can get Dick, Babs, Helena, Tim, Steph and Cass to all play nice together during post-Crisis is pretty tight too.

Babs and Helena are at best polite to each other’s faces between oh 1996 and late 2003 (the Batgirl costume issue. The Dick issue. No Man’s Land. Helena being willing to kill. etc) and it takes a little while once they’re both on Birds of Prey to work through their issues.

Cass isn’t available till 1999.

Meanwhile Steph ‘dies’ late 2004, and got told by the Birds of Prey she was NOT getting mentored in early 2003?

Like yes you could put all six of them on a case/event at any point between 2000 and 2004, but uh there will be UNDERCURRENTS. Nobody’s stabbing anyone but there are frustrated rants occurring in private.

And then Steph and Cass and Tim aren’t all properly back in one place together until oh 2010? 2011? By which time you’re getting awfully close to the end of post-Crisis and other characters might disrupt the dynamic.

I’m not saying they don’t work as a discrete set of 6, I’m just saying there isn’t really a clear point in the timeline that all 6 are 100% getting along simultaneously (and nobody’s dead/brainwashed/undercover/etc).

The batfam works better as several family units than one family unit I miss when that was a thing. Half of them couldn't be put in the same room together or they'd start swinging and I think that energy should be brought back into current comics. I want half of them to know jackshit about each other and what they do know makes them dislike each other more. If they're ever all under the same roof I do think someone must be dying or several physical fights break out. If you want big happy family stuff go pick up a Flash or Superman comic