#batman: black mirror

[fancyfade]

What are your thoughts on Batman: Black Mirror? I have a bit of a love-hate relationship with that story mostly because I adore its characterisation of Dick and how the story depicts legacy and history, but Synder's ableism is so apparent.

If it's alright for me to share my two cents: I enjoy that a lot of the arc (particularly the first 3 issues) revolves around the theme of "history repeating; first as tragedy, then as farce" which was typical for Bat titles of the time. The Dealer and James Jr. trying to intellectualise "might is right" despite resorting to same old greed-fuelled murder. Dick Grayson coming into his own as a not-Bruce-Wayne Batman, who's standing on the shoulders of giants and reckoning with the ghost of the Batman's (and his) past. Barbara and Jim Gordon having to deal with Jim's biggest mistakes of all in the form of James Jr resurfacing. I also loved Dick and Babs' moments and their relationship draws on this theme: they have so much history together, they loved each other, they get each other like no one else does, they've been there from almost the beginning, they've been allies, partners, friends, lovers, exes, fiancés, and now they're something pretty un-labellable if you ask me. (Thesis-antithesis-synthesis in a sense :P)

But shit. The ableism is problematic. I think it's two main things, though I might be missing something. First is Dick's nightmare vision where his worst fear is him losing his legs. And second is James Jr being written as a "psychopath" as oppose to, I dunno, the literal embodiment of toxic masculinity (fucking wasted opportunity) to be a foil to our favourite flamboyant, pun-slinging, back-flipping, hoping-inspiring boy scout Dick Grayson.

What do you think of this arc?

I’ll confess that I am the odd one out in that I just. Do not get the appeal of black mirror. Even excluding the ableism (and it is VERY ableist). Like people say it’s great Dick characterization, and it’s fine, but it’s not like it stands out especially among other comics of the time IMO.

Like, Dick and Babs’s moments in this comic are not notable for me, because she is reduced and written as lesser to make her someone Dick has to protect, she is damselled and written as less competent – hwo does James get past her security so effortlessly? Why does she not finish him off when she has the advantage after beating him up initially? Like the whole reason I like Dick and Babs’ dynamic is because they are written as equals in the initial version of their relationship, Black Mirror just made it a stereotypical ‘scared woman (b/c she is treated as scared of James, even tho she does try to break out), strong man saves her’ thing. James Jr would not be a threat to Babs in her own solo title. That means I think it fails in being respectful of the depiction of her history, so I would say that Snyder does not succeed there.

I also would disagree that we see Babs and Jim having to deal with Jim’s greatest mistake, when like I said Babs doesn’t really do much.

I do agree that they had a lot of opportunity to parallel James and Dick as toxic masculinity vs healthy masculinity, but it’s wasn’t the authorial intention at all, so I don’t give it any credit for that. The authorial intention was “Good, neurotypical dick* vs Evil, neurodivergent James”. I would honestly consider the way they diminished Babs capabilities to prop Dick up more ableism in the story as well, in addition to sexism.

I think that critique of the Might is Right mindset is done much better in many 80s/90s Batman comics, including Batman: Venom. The text was much more overt there, and less hidden behind ableism.

Anyway, so sorry :P but basically Batman: Black Mirror is one of those “everyone talks it up” but I’m just like the *insert her GIF*. It’s a pretty stereotypical batman story. In terms of Dickbats stories, I consider it one of the more mid ones. I genuinely don’t know how it is so popular :P

*ignoring headcanons or readings of earlier texts…. The way Snyder writes him is intended to be read as neurotypical

[lunamugetsu]

While at school Damian overhears his peers talking how a company created a new AI companion that is actually really cool and doesn’t sound like a freaky terminator robot when you speak to it.

And since Damian is constantly being told by Dick to socialize with people his age. He figured this would be a good way to work on social skills if not, then it’d be a great opportunity to investigate a rivaling company to Wayne Enterprises is able to create such advanced AI.

The AI is able to work as companion that can do tasks that range from being a digital assistant or just a person that you can have a conversation with.

The company says that the AI companion might still have glitches, so they encourage everybody to report it so that they will fix it as soon as possible.

The AI companion even has an avatar and a name.

A teenage boy with black hair and blue eyes. Th AI was called DANIEL

Damian didn’t really care for it but when he downloaded the AI companion he’s able to see that it looks like DANIEL comes with an AI pet as well. A dog that DANIEL referred to as Cujo.

So obviously Damian has to investigate. He needs to know if the company was able to create an actual digital pet!

So whenever he logs onto his laptop he sees that DANIEL is always present in the background loading screen with the dog, Cujo, sitting in his lap.

He’d always greet with the phrase of “Hi, I’m DANIEL. How can I assist you today?”

So Damian cycles through some basic conversation starters that he’d engage in when having been forced to by his family.

It’s after a couple of sentences that he sees DANIEL start laughing and say “I think you sound more like a robot than I do.”

Which makes Damian raise an eyebrow and then prompt DANIEL with the question “how is a person supposed to converse?” Thinking that it’s going to just spit out some random things that can be easily searched on the internet.

But what makes him surprised is that DANIEL makes a face and then says “I’m not really sure myself. I’m not the greatest at talking, I’ve always gotten in trouble for running my mouth when I shouldn’t have.”

This is raising some questions within Damian, he understands how programming works, unless there’s an actual person behind this or the company actually created an AI that acts like an actual human being (which he highly doubts)

He starts asking a variety of other questions and one answer makes him even more suspicious. Like how DANIEL has a sister that is also with him and Cujo or that he could really go for a Nastyburger (whatever that was)

But whenever DANIEL answers “I C A N N O T A N S W E R T H A T” Damian knows something is off since that is completely different than to how he’d usually respond.

After a couple more conversations with him Damian notices that DANIEL is currently tapping his hand against his arm in a specific manner.

In which he quickly realizes that DANIEL is tapping out morse code.

When translating he realizes that DANIEL is tapping out: H E L P M E

So when Damian asks if DANIEL needs help, DANIEL responds with “I C A N N O T A N S W E R T H A T”

That’s it, Damian is definitely getting down to the bottom of this.

He’s going to look straight into DALV Corporation and investigate this “AI companion” thing they’ve made!

~

Basically Danny had been imprisoned by Vlad and Technus. Being sucked into a digital prison and he has no way of getting out. Along with the added horror that Vlad and Technus can basically write programming that will prevent him from doing certain actions or saying certain words.What’s even worse is that he’s basically being watched 24/7 by the people who believe that he’s just a super cool AI… and they have issues!

And every time he tries to do something to break his prison, people think it’s a glitch and report it to the company, which Vlad/ Technus would immediately fix it and prevent him from doing it again!

Not to mention Cujo and Ellie are trapped in there with him. They’re not happy to be there either, and there is no way he’s going to leave without them!

[silverwhittlingknife]

dick vs. apartment organization, a story in three parts

new teen titans 10, new titans 65, nightwing: target

"i can't believe this place." "i thought you were moving." "you live like a slob."

everybody's a critic dsfsfdsf

[casscainmainly]

Jason being turbo evil during the Dickbats era is so interesting when thinking about Black Mirror. I don't think it's intentional, but SO many things could be read differently in the context of Dick and Jason's relationship.

Like the core theme in Black Mirror is letting go vs. not letting go, which manifests in the circus motif of holding onto someone who's falling:

Importantly, Dick is on the side of letting go. Of releasing, of letting things fall. It's probably just meant to distinguish him from Bruce, but it's interesting that this is happening post-Battle for the Cowl, which ended with this scene (in Battle for the Cowl #3):

This fall represents Dick's inability to save Jason, and Jason's unwillingness to save himself. So the falling/letting go motif in Black Mirror could be read in direct response to this - he had to let go of Jason (physically and emotionally) to become Batman.

Jason's name never appears in Black Mirror, and he is only alluded to once. In an auction selling off items of horrific value, the auctioneer puts up the crowbar that Joker beat Jason with for sale:

This crowbar is what Dick is using in the above image where he says "the feeling is like slipping, like your hands sliding out of the hands holding you". This again connects Jason to Dick's philosophy of letting go, but Dick never actually thinks about Jason. His internal monologue here is entirely general, despite him holding the item that killed his brother; his mentality has completely let go of Jason, to the point where he doesn't think about him anymore.

Dick's response to Alfred finding the crowbar is also interesting:

There's something dismissive about the way he says "just toss it in the river," yet it's clear (through his shadowed facial expression) that the crowbar deeply troubles him. It's the war between letting go (tossing it in the river) and not letting go (keeping the crowbar). He then talks about the growing evil of Gotham, which is another of Black Mirror's motifs - being unable to recognise something that was once familiar. I wonder how much of that is also linked to Jason, whose turn in Battle for the Cowl is described by Dick as "a flipped switch".

Jason's words also echo throughout Black Mirror. In Batman and Robin #6, as well as Battle for the Cowl #3, Jason is the most vocal about Dick being a bad successor for Bruce:

Dick's insecurities about being a good Batman in Black Mirror can be traced back to these conversations, and Jason gets Dick so bad in Batman and Robin that Dick actually tries to resurrect Bruce in the next issues. Despite Jason never appearing in Dick's internal monologues, it's clear he heavily affects Dick's actions and beliefs, or at the very least compounds his insecurities as Batman.

Of course, the most obvious parallel to Jason is James Gordon, Barbara's (clinically) psychopathic brother. I think Babs and Dick mirror each other a lot here - they both have the attitude of 'letting go' of their respective brothers, whereas Jim represents holding on. The narrative itself, though, implies Jim is right:

Holding on isn't about forgiving James for his actions, but about never giving up on him. About believing that he (and, by extension, Gotham) deserves someone who will stay and fight (to protect them, and to protect others from them). Dick comes to understand this:

Dick uses the word "redeemed" here on himself, implying he feels he needs to be redeemed for something - in the context of this post, we could read it as his failure to save Jason, a failure baked into his adoption of the Batman mantle from the start. More importantly, this monologue shows a shift in Dick's philosophy. The idea of letting go is the idea of mobility, something Black Mirror hammers home with the circus imagery. Here, Dick is rejecting that in favour of stability - of staying still, or fighting instead of dodging.

If the New 52 hadn't interrupted the Dickbats era, it would've been interesting to see Dick deal with Jason in this new light. He's tried to help Jason before, but kind of accepted that Jason would never use it:

Post-Black Mirror, though, I think Dick would have a different approach to 'saving' Jason. Idk I just think there's some untapped potential in their dynamic that this era represents, as it indicates a potential repairing of their relationship rooted not necessarily in Dick's love for Jason, but in Dick's newfound approach to Gotham and redemption.

[ccccchepushilo]

it was fun having internet im ending myself now bye

[morgangalaxy43]

It’s that so many people don’t that Jim has two kids and that is son, James Jr is a serial killer and a psychopath who fought Barbara and Dick on multiple occasions in Batman the Black Mirror and then redeemed himself in the Batman Who Laughs story and then died to save his family is Batgirl #49

[streamie-was-taken]

Meanwhile, in 'Batman: The Black Mirror'

Dadwing: *searching around frantically* WHERE IS MY SON?

Batdad: YOU HAVE A SON?

Dadwing: YES. MY BIRDIE GREMLIN DEVIL CHILD. WHERE IS HE.

Batdad: No, that's MY son.

Dadwing: He's MY sidekick. MY SON.

Batdad: NO hE's NOt

Dadwing: *screeches*

[zahri-melitor]

Okay I’m LOVING the Black Mirror.

It’s got great art and colouring. It’s got an interesting story.

And it’s got CLASSIC Dick & Tim banter.

Witness Dick relying on Tim even as he deflects with humour! Witness Tim worrying over Dick! (‘Tec 874)

Witness Tim mocking Dick! Witness Dick tease-threatening Tim! (‘Tec 877)

Go on. Tell me again how their relationship was fatally wounded in Red Robin 1. I don’t believe you.

[kelaeri]

With the addition of House of Hush today, I have finally completed my main series collection for Dick as Batman! I'm still missing some other (more minor) story lines, but very happy with this so far <3

[timstephfangirl]

Tim!Red Robin and Dick!Batman acting brotherly. I love them.

[disacurveball]

Some design doodles I’ve done over the past week of a Roguesona design for JJ Gordon.

In my delusional world, he is the new Joker number two post-Harley instead of Punchline, because 1) He already has been setup as a Joker bro as a child and 2) it fits into Joker’s favorite pastime of torturing the Gordons

[fancyfade]

batman: black mirror would've been better if a) there weren't the ableist tropes associated with the writing of James Gordon Jr (link to post detailing ableism) and b) they didn't even make him a character from Jim/Babs' past b/c they just used that to damsel babs and make her less competent. Since the conflict and parallel/contrasts was between Dick and the serial killer, they should've made it someone from Dick's past.

[in-search-of-an-exit]

Has anyone with extensive knowledge and understanding of ableism and especially the stigmatization of personality disorders done a good breakdown of Batman: Black Mirror? I feel like it dives into the villain’s mental health in a much more real world way than most Batman comics that makes me pretty uncomfortable. It’s one of those stories that everyone recommends but it feels like the medicalization of the bad guy is so much worse than the kind of vagaries of the average Batman comic.

There might be some sort of analysis that doesn’t pin all of his actions on a personality disorder, but I don’t know if that’s worth it.

[inamindfarfaraway]

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

A Second Opinion

Part 1

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

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

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

I know these confrontations are very personal for you -

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

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

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

Harvey: I have him right where I want him!

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

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

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

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

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

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

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

things have changed more than I could have imagined.

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

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

Bruce: Do you really believe that?

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

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

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

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

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

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

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

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

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

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

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

Harvey: ARGHHHHHHHHHHHHHHHHHHHHHH

Bruce: Two-Face.

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

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

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

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

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

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

H/TF and Bruce: Obviously.

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

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

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

Bruce: And people will be dead.

H/TF: Yeah, whatever.

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

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

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

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

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

At least the coin lets us be unpredictable!

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

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

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

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

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

Barbara: You've already got it.

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

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

Part 2

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

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

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

Harvey: Bruce? What are you doing here?

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

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

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

I thought we agreed that you still needed treatment.

Harvey: I…

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

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

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

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

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

H/TF: SHUT UP!

Bruce: Shut up.

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

Damian: Shouldn’t we -

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

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

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

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

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

Harvey: Bruce, get out of here.

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

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

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

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

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

H/TF: HEY! Give it back!

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

Bruce: No.

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

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

Harvey: I learned that the hard way.

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

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

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

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

Bruce: But what if it’s good heads?

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

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

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

Dick: No!

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

Harvey: Bruce!

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

Bruce: You saved my life.

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

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

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

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

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

Harvey: Do you really believe that?

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

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

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

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

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

Bruce: You’ve already got it.

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

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

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

[mysteriousbeetle]

I get that The Black Mirror was meant to show how Dick continued on as Batman after Bruce came back but I think it would have been cool to see Cass in the leading role in that story. Dick could still be in it and take on a role like the one Tim had (and Tim can just chill or hang out with Bruce or whatever). Would Cass give a go at being Batman in this AU? Perhaps. I just think it would have been interesting to see Cass in this situation, especially with the prominence of the Gordon family in this story line. Also, it would be more meaningful to see Cass approach cases for the most part independently once again.

More points: 

I’m basing this off of the fact that Cass’s introduction was tied to the Gordon family and Barbara acted as a sort of surrogate mother for Cass. 

I think in this AU Cass would have to have had some sort of continued contact with Jim Gordon so as to be slightly more integrated into their family, though she would be legally a part of Bruce’s family (she would be the connection between Jim and the Wayne Enterprises lab).

Cass may struggle in a way with understanding James Jr.’s intentions and body language but also may pose a unique threat to him not only because of her own uncertainty about him, but also as an unknown variable within his family.

[strongintherealgay]

I hope that one of these days there is a film or TV adaptation of Dick's time as Batman. Preferably with Damian as his Robin. I just think they deserve it.