#because THAT is the only compelling reason I have ever seen for Bruce leaving behind the mantle

[cluescorner]

Started crying over the Batman Beyond Animated Movie concept art. I am so normal.

[jazzythursday]

I’m about to go into another very long Marvel rant/dissertation here— mostly for myself— that I started writing soon after the Loki Series finale so please feel free to just scroll past this, because honestly I think I kinda overdid this one. It’s jaded and overly dramatic even for me. You have been warned:

The last 4 Marvel movies/shows I’ve watched left me feeling so completely depressed and unsatisfied and hopeless about the future of popular entertainment and story telling in general, and I know I’m not the only one. The fact that fans are going into these experiences hoping for a good story and character arcs that make sense with prior characterization, and leaving feeling… empty is a very clear sign that their approach leaves a lot to be desired.

Infinite War had some valid reasons to end the way it did, because by having our heroes fall so much harder than ever before, it built up the tension and high stakes for the next film. But what does that do when Endgame leaves us feeling even worse? I wanted them to triumph and finally come together to be better. I expected there would be losses of course but not enough to negate the wins. Instead the characters were subjugated for plot, characterization was watered down, and we lost all the original Avengers besides Thor and Bruce (who was no longer even Bruce). Peter loses Tony, Thor’s previous loses are permanent, and so many other things that, in spite of loving a lot of the movie, mean I haven’t been able to stop being sad about it for literal years. And the amount of thoughtless destruction that seems to be at an all time high when it comes to character’s lives and disregard for properly exploring emotions just doesn’t leave much to be expected at this point. Far From Home was good. It was. I liked it a lot. The acting was wonderful and there were some really interesting themes they grappled with but I still walked out of the theater feeling like there was still so much detachment surrounding a lot of the decisions, a little too much thoughtlessness (that, and the gaping hole of Tony). I’m not going to talk about WandaVistion but I’ll say that I was invested until the start of episode 8, and finished episode 9 feeling drained and tired and sad.

Then we get to Loki, a show which has plagued far too many of my thoughts since I started watching it, and has crushed my hopes for ever truly being happy with a Marvel project ever again. Loki is a character who’s ostensibly felt alienated and unseen for most of his life, and that’s before finding out about his parentage. His first movie ends with his suicide attempt and subsequent fall into the void. His second takes place a year into working under Thanos and ends with him being taken away in chains (yes I know he’s the villain he’s done bad things etc. etc. but for the purposes of this I’m only focusing on his pov). Then his third involves his solitary imprisonment, his mother’s death, and his near-death (considering the likelihood that he was actually stabbed), although it does end on a lighter note with his acquisition of the throne. Then we get his redemption and reconciliation with Thor in Ragnarok, immediately followed by the utter tragedy that is the first 10 minutes of Infinite War, which I don’t think I need to explain.

So what I suppose I’m saying here (very very inadequately) is that after all of that, I can’t believe the proper story to tell in his first chance at being a main protagonist was one where he’s constantly degraded and beat up, convicted of things he didn’t actually do, given no focus on backstory or implied/established motivations, and labeled as a clown and a narcissist! His powers are weakened, he displays almost no recognizable mannerisms or competence, he’s held to a higher moral standard than every other character, shown no respect, and ultimately loses EVEN MORE. We’ve seen him lose and lose and lose and lose again. We’ve seen him die THREE TIMES, we’ve seen him redeemed TWICE. So who in their right mind thinks that the most compelling story to tell after all of that was to see him LOSE AGAIN?! And not only lose, but lose without any real triumph, dignity, or acknowledgment beforehand. Death to the author aside, reading the utter nonsense the team behind it have spread, it’s so clear that it wasn’t made in good faith. Whether in ignorance or true maliciousness, they just don’t care. They didn’t research. They didn’t try and see things from his point of view. They didn’t truly sympathize with him as a person while writing. They didn’t understand. And they truly, truly wanted him to fail.

I’m tired of feeling hopeless at the end of everything, of leaving the theater or turning off the TV wondering why I even bothered, why I even care when I’m just being strung along with as little consideration as an audience as my favorite characters. I wanted to actively see him strive to be better, not just be told he could be. I wanted to see him triumph over his demons, not forget them. I wanted to see him be the “master of magic” that every other damn movie has alluded to, and to use his powers effectively. I wanted him to be powerful. I wanted him to, if not win, then win on a personal level at least. I wanted to see him take agency in his life and PROVE EVERYONE WRONG! And, though it’s now bafflingly controversial to say, I wanted it to be told by an experienced and competent writing and directing team that knew and understood his character and were passionate about telling his story.

I would ascribe to the notion of “don’t like it, don’t watch” if I could but I care to much to not be affected by this obvious decline in quality and awareness. And I’m a relatively recent fan. I haven’t been waiting for Loki to get his moment in the sun for 10 years. I’M NEW HERE, and my heart breaks so much for fans of the original movies who have lost their love of Marvel or Loki because of the way it’s been handled. No one should fall further than they can climb up from, and I’m tired of watching loss after loss and never getting the release of gaining enough of it back. What’s the point of caring about these characters if the writers won’t? Of investing in a connecting cinematic universe if it lacks continuity? Of looking for clues and foreshadowing when there isn’t any and the only twists are random and pander to shock value? The way these pieces/characters are being created and interpreted is reductive and incompetent, and for once I’d like to watch something that feels crafted, inspiring, and gratifying to see to the end.

If some people like the Loki show we got, I have no argument against that, because my own opinion is just as subjective as theirs. Though, I’d like to think that if what I want is for the show to be better out of love for the same character, then what they enjoyed from the show can coexist in that. If anyone’s actually read up to this point, I have to admit I’ve forgotten mine. Mostly I just wanted to express my frustrations over how unfeeling and stale most entertainment, specifically from Marvel as of late, has been.

TL;DR: I care too much, waaay too much, Marvel cares too little, Disney doesn’t care at all, and I don’t know how to accept that.

[cozy-the-overlord]

Crimson Curls

Summary:  A barista at the Avengers Tower coffeeshop goes missing. Her boyfriend, prominent Avengers engineer Michael Hauer, headlines a desperate campaign to find her, aided by the support of Tony Stark and the rest of the super-powered team. But as Hauer's narrative begins to unravel, it becomes clear that a certain Asgardian prince knows more than he's telling.

Pairing: Loki x Original Female Character

Chapter 1: Disappearance

Previous chapter | Next Chapter

Word Count: 3,138

A/N:  This is definitely something born out of my obsession with true crime and missing persons cases... I'm not sure if anybody else is as interested in this concept as I am, but I had the time of my life writing this story, so I hope that translates to you in some way. 

Also, this is my first multi-chaptered fic (I know, exciting, right?!)-- part 2 should be up within the next week.

Thanks for reading!

TW: domestic violence

Read it on Ao3 

Kristine Ververs was first reported missing at 6:07 AM on Tuesday, March 17, by her boyfriend Michael Hauer. He was a bit worried, he said, because she had stormed out of their apartment the night before after a fight, and he had only just realized when he woke up that morning that she never came back. His attempts to call her led him to discover that she had left her cell phone on the kitchen counter.

The dispatcher asked him to wait at the apartment for investigators to arrive. He told her he couldn’t. He had to go to work. A bit befuddled, she asked if it was at all possible for him to wait until police arrived so they could ask him some questions.

“You don’t understand,” he said. “I work for Tony Stark.”

Michael Hauer was considered to be fairly acclaimed at the Avengers Tower. He had been one of the first engineers hired when the Tower opened, picked out by the infamous genius-billionaire-playboy-philanthropist himself. He spent his days in the restricted upper floors, designing and testing projects so confidential that his girlfriend didn’t even know what they were.

He had met Kristine at the Tower. She worked in the coffeeshop next to the cafeteria, where the employees of all 93 stories flocked to with bleary eyes each and every morning. Kristine was hardly the most talkative barista there (on the contrary, she appeared to make it a point to say only the bare minimum), and yet she was the girl everyone thought of when they thought of their morning brew. Her wild mane of curly red hair stood out in a crowd. Even when she wasn’t in uniform, people knew her as the coffeeshop girl.

It was unclear what she thought of this. A lot of things about Kristine were unclear—she spoke very little, and never about herself. Her coworkers often wondered why someone so shy would choose to work a job that so heavily relied on social interaction, but she managed just fine. Despite her natural demeanor, she would put on a smile and speak in that bubbly barista voice people found either endearing or irritating for the customers, and no one thought anything of it.

When she disappeared, people were shocked.

“You mean the redhead from the food court?” asked Bruce in the apartment story of the Tower when the news broke. “She’s the one?”

“Yeah,” said Tony. They were crowded around the TV, the newscaster flashing a photo of Kristine shyly smiling at the camera as the tip hotline ran across the bottom of the screen. “Poor Hauer. He was a mess. I can’t believe he even came in today.”

“I didn’t know they were dating. I don’t think he’s ever mentioned her.”

“Yeah he has,” Steve turned around in his chair to face the doctor. “He brought her to the Christmas party, remember?”

Tony frowned. “Did he?”

“Of course! I remember!” Thor lit up. “She danced with my brother!”

“Oh that’s right,” Tony chuckled. “Poor girl. She didn’t say much, did she?”

“She did strike me as a bit shy,” Steve said. “I hope it’s all a misunderstanding. Maybe she’ll be back on her own.”

But she didn’t. As the days passed with no news of Kristine Ververs, media attention snowballed around the Tower. On its own, there wasn’t much to the case, but the fact that both the missing girl and her boyfriend worked for the Avengers caught the attention of the public. It seemed so impossible. How does someone who walks among superheroes vanish without a trace?

Missing posters lined the hallway walls: HAVE YOU SEEN KRISTINE? People rushed to news stations for interviews, most of which had no connection to her beyond the fact that she sometimes made their lattes in the morning. Hauer held emotional press conferences, begging anyone with information that might lead to Kristine to come forward. Everyone looked at him differently now. The standoffish, stiff engineer that had once been considered uncomfortable to be around was now a grieving boyfriend. They sent him flowers and patted him on the back in the halls, telling him they’d be praying for his girlfriend, promising to help keep the story alive.

Although that probably wasn’t an issue. Stark himself got in front of the camera, making international news as he expressed the Avengers’ concern for the Ms. Ververs and offered to help the police in their investigation in any way they could.

The investigators would have happily accepted this help if they had found anything for Stark to help with. But the fact of the matter was that there was nothing: no clues, no sightings, not even the slightest trace that Kristine Ververs had ever left her apartment. The security cameras in the lobby showed her coming home from dinner with Hauer at 8:13 PM that Sunday night, but had no record of her exiting the building around two hours later, when Hauer saw her storm out. They considered that she may have been pulled into another room, that for some reason she left through a fire escape, but the few cameras in the hallway showed nothing and witnesses were nonexistent.

Kristine had seemingly vanished into thin air.

“Do you think there’s something supernatural at play here?” Natasha asked one day. “Like, a leftover portal from the Convergence or something?”

“Unlikely,” Bruce said. “The Convergence caused our tech to go haywire. We’d definitely be getting noticeable readings if there was a portal down the street.”

“But something like that is still possible,” Tony interjected. “What with all the crazy shit we deal with on a regular basis. Someone might have been going after Hauer—he’s one of our top engineers, it wouldn’t surprise me.”

The fact that she had left her phone was strange, as well. The screen was cracked rather badly—Hauer explained that had happened a few weeks ago when she dropped it on the bathroom tile. Her call history showed that the night she went missing she had phoned an unlisted number. The call hadn’t been long—likely, it had been cut off before the other line even had a chance to answer.

Unfortunately, there seemed to be no clue as to who was on the other line. The number was so badly scrambled that it was untraceable, even with Tony’s resources. In fact, he was relatively certain that whoever she had called had been using his tech to hide their number—leading to a heightened suspicion cast upon the higher-ups at the Avenger Tower.

When after two weeks there were still no leads, Tony held another press conference to announce that he would be posting a one-million-dollar reward for any information that led to the safe return of Kristine Ververs. Hauer joined him, thanking Mr. Stark profusely and pleading once more for help from the public. In the Tower, the others watched the broadcast from the television in silence.

“Filthy weasel.”

No one had noticed Loki entering the room until he spat the words like venom, glaring at Hauer’s distressed face on the screen.

Nat frowned. “What’s your problem?”

The Asgardian made his way to the kitchen and set about boiling water, still scowling darkly. “He has the audacity to sit there and wail as though he’s the victim of some great crime,” he said. “As if he’s some tortured soul wracked with fear.”

“Brother, the woman he loves has gone missing,” Thor said. “Can you not blame him for being in pain?”

“Oh yes, he’s in such pain,” Loki rolled his eyes as he prepared a mug and teabag. “Stark is close with him, is he not? Has he asked him what it was they were quarreling over so passionately that his lady felt compelled to run out of their home in the middle of the night?” He mixed the water in the mug. “Or has no one thought to question that?” With that, he slipped down the hallway with his tea, leaving the others and their gaping expressions behind.

Loki wasn’t the first to doubt Michael Hauer’s authenticity. His neighbor, Colleen Donalds, had come forward to the police shortly after the case went public to voice her concerns. She lived across the hall from the couple, she said, and a lot of times she’d overhear their arguments. They were always incredibly one-sided. She told the police that she very rarely made out Kristine’s voice during these exchanges, but Michael’s boomed all the way down the hall. He called his girlfriend the most demeaning things, throwing out words that Colleen was ashamed to repeat. She felt sorry for Kristine.

“She’s always so quiet,” she said. “Even when I run into her when Michael’s not around, she barely says a word. I can’t believe she stays with him.”

Colleen Donalds attempted discretion. Her story was to the police and the police alone, avoiding making any direct accusations and trying to stay out of the entire situation as much as possible. Marlon Arcardi had no such interest.

“He hits her,” the couple’s next-door neighbor told the tabloid reporters. “I hear it through the walls. I’ve called the cops on him a couple times, but they never do anything about it. He was doing it the night she went missing, too. I heard the crashing. He’s a complete piece of shit.”

The magazines that hit the stands next to the grocery store checkout lines screamed in red ink: AVENGER ENGINEER RESPONSIBLE FOR GIRLFRIEND’S DISAPPEARENCE?

When questioned about it, Hauer denied all allegations. “We’d get into fights,” he said. “What couple doesn’t? It was nothing serious, and the more we focus on it, the more distracted we become from the actual issue: Kristine is missing.”

“Are you saying Mr. Arcardi is lying in his statements to the press?”

Michael Hauer shrugged bitterly. “He wants attention. He’s getting attention. He doesn’t know what he’s talking about. He’s trying to derail the investigation so he can have fifteen minutes of fame. It’s sickening, because we right now we need to be concentrating on Kristine.”

Hauer managed to skirt by on this explanation for a bit, but the investigators soon discovered that Marlon Arcardi was telling the truth—at least, about calling the cops. In the two years that Kristine and Michael had been living together, the police had been called to their apartment nine separate times: seven public disturbance calls from a smattering of different neighbors including Acardi, and shockingly, twice from Kristine herself.

The police refused to release these calls, saying only that each time there were no charges pressed. The public was left to draw their own conclusions as they called in Michael Hauer for more questioning. Suspicion began to blossom.

“If they’re this perfect, happy couple like he wants us to believe,” asked one newscaster. “Then why is she calling 911 on him? Why is she running out in the middle of the night? The whole thing is extremely concerning.”

More people began coming forward. There seemed to be no end to the neighbors who overheard crashes and cursing coming from the Hauer apartment. The baristas Kristine worked with started doing interviews as well.

“We used to have like, you know, night outs on the weekends sometimes,” said Curt Chambers, one of her coworkers. “We’d always ask Kristine, but she always had some excuse. Like, she was sick, or she already had plans, or something. I joked with her once, like ‘you can just say you don’t want to go, we won’t be offended.’ And she said something like ‘no, it’s not that. It’s just my boyfriend doesn’t like me being out too late.’ And I remember thinking that was a really weird thing to say.”

Elaine Janson, another coworker, had more to add. “Something always felt off about that relationship,” she said. “They’d come in together, and then he’d come down a couple times during the day. It was like he was checking on her. It was weird. And they always left together. If he was working late, she’d wait for him.” Elaine shrugged. “Kristine always seemed so tense when he was around. I mean, she was shy to begin with, but when Michael came by it was different.”

It was also revealed that Michael Hauer had failed two lie detector tests: one taken on March 19th, within days of his girlfriend’s disappearance, and another on March 27th.

Tony Stark was inundated with calls: from reporters, from employees, from concerned citizens, some asking if he still supported Michael Hauer in light of new allegations, others demanding that he fire him immediately. He responded in a press conference in front of the Tower.

“As of right now, I’ve been shown no evidence indicating that Michael Hauer is in any way involved in Kristine Ververs’ disappearance. If and when that evidence comes to light, we will reevaluate the situation and take appropriate steps.”

Then somebody leaked the calls.

No one was quite sure who got ahold of those tapes, but by morning they were being blasted on every single news broadcast under the sun. It was the first time that the public was hearing anything in Kristine’s own words, and it didn’t bode well for Michael Hauer.

“Can you please just send someone?” she whispered into the microphone, breath labored as she struggled to get the words out. “He’s really mad, I think he’s going to break down the door. Please, is someone coming?” In the background, a masculine voice was yelling something intelligible, clobbering at a wall.

“Does he get mad often?” the operator asked after assuring her that the police were on their way.

Kristine Ververs gulped back a sob. “He’s always mad.”

The second call didn’t even have words. A scream, the crash as the phone tumbled to the floor, more yelling, pleading, crying, pounding, the operator tracing the call and sending in a unit…

Michael Hauer was formally asked to resign from his duties at the Avengers Tower. When he refused, he was terminated.

Still, he remained steadfast in his story. “Kristine has been missing for nearly a month now,” he stated in a recording posted to social media (press conferences were out of the question now; so many people showed up to protest that he couldn’t get a word in edgewise). “On occasion, we would get into violent fights, but I would never do anything to hurt her. I loved her more than anything. Please, don’t allow my mistakes to derail the investigation. We must not lose focus.”

A tweet of the video link with the caption “You loved her?? Enough lies. Where’s the body, Michael?” shot up to over 2 million likes in a day. #WheresTheBodyMichael and #JusticeForKristine began trending. Petitions for the arrest of Michael Hauer racked up signatures by the hundreds.

On April 21st, over a month after Kristine Ververs was first reported missing, a second, more in-depth search of the Hauer apartment was conducted. They noticed some things that had been missed the first time. The door lock had recently been replaced. The television screen was scratched. But, most critically, there was kitchen knife missing from the set atop the refrigerator. When questioned, Hauer claimed he had no idea what could have happened to it.

Detection dogs were brought in. While the cadaver dogs found no sign of the presence of a corpse, two different blood hounds alerted to the scent of human blood in the kitchen area and indicated a trail leading towards hall. A sample was taken from the carpet and sent to the lab for analysis. With the help of the advanced technology offered by the Avengers Tower, it was conclusively identified as Kristine’s blood.

As if that wasn’t enough already, a few days later, on April 25th, a trash collector turned in the missing kitchen knife to the police. He said he had noticed it in a dumpster earlier that day and recognized it from the description in the paper. There were three sets of fingerprints on the handle: Michael Hauer’s, Kristine Ververs’, and an inconclusive set assumed to be the trash collector’s, despite his insistence that he was wearing gloves when he picked it up. Kristine’s DNA was found on the blade.

The public had been screaming “GUILTY!” ever since the phone recordings were released. Now, they roared.

Michael Hauer was arrested on April 29th and charged with the murder of Kristine Ververs.

It was a shocking turn of events. Technically speaking, there was still no proof that a murder had taken place: there was no body, nor any sign that one existed. And just as there was no evidence of Kristine Ververs leaving the apartment that fateful March 16th, there was no evidence of Michael Hauer leaving the apartment that night either, especially with something as cumbersome as a human corpse.

The twitter hashtag found its home in newspaper headlines: Where’s the Body, Michael?

In the penthouse of the Avengers Tower, Tony rubbed his forehead. “This is such a fucking mess.”

They were gathered once again in the living room, watching as the newscaster recapped the last month and a half, breaking news that was already known. Kristine’s picture, with her downcast cerulean eyes and her frizzy red curls, flashed across the screen once more.

Tony sighed. “He just seemed so normal. I never would have thought—”

“You think he did it?” asked Steve.

“Well, he did something,” Tony snapped. “Clearly. He’s got a history of violence, her blood’s all over the floor—”

“No one’s debating that he did something,” interjected Bruce. “But if he killed her, what happened to the body? He never left the apartment that night, and there’s no evidence that a cadaver was ever stored there”

“He’s smart! That’s why we hired him, he’s a freaking genius! He probably thought of something—”

“Thought of what?” the doctor asked, throwing up his hands. “Teleportation? How the hell did he get the body out?”

“He didn’t.”

The group turned around to find Loki lurking in the back, studying them carefully from the shadows.

Bruce was the first to find his voice. “What?”

“He didn’t remove the body, because there was no body to remove,” he said deliberately.

“But, Loki,” Thor said uncertainly. “Weren’t you convinced Hauer was a killer from the start?”

“I never said he was a killer. I said he was a filthy weasel,” Loki said. “And he is, clearly. He's a slimy, abusive, manipulative, wretch of a man, but he's not a killer—although he likely believes himself to be."

Tony frowned. "What are you talking about, Loki?"

"He cannot be labeled a killer if his victim survived his attempt on her life. Which she did,” Loki paused a moment to let his statement sink in. “Despite Michael Hauer's best efforts, Kristine Ververs is very much alive.

[jinxofthedesert]

Hi there!!! It is the same anon that requested some fic recs ☺ Thank you so much! I may give them a read! They look very interesting! But tbh I'm looking for fics that deal with some more in-depth approach to the twins' psychology and character (I don't mind the romance. In fact, I think it's a really interesting plus to the story when handled well).

(Below this is the rest of the messages, put together. Farther down, below the line, are my responses)  

 I’ve usually seen that the twins are portrayed as soft, loving and caring guys with their partners without real motives for such drastic change of dynamics in their twisted personalities. I mean, the usual Valeska centered fic goes like this: they meet the OC in Arkham or during their childhood in the circus and for some reason they reunite in the present, and then it is just the twins somehow falling for them, changing their whole way of being and only wanting to bang the OC the whole time (without taking into account the lack of the OC's inner conflict about loving such twisted men, because these OCs usually are "sane" and good people that somehow are dragged into the twins' world and for some reason they just fall in love with them without questioning it). But for me the least realistic thing about these fics is that the twins become super nice guys all of a sudden. I mean of course there can be character develoment and growth (up to a certain point), but I haven't really found a story that contains such deep explanation. Let's face it, they're still psychos no matter what, even if they have a partner.  In the last season we get a glimpse of how Jeremiah treats Ecco, someone that he used to appreciate and care for deeply, and she still meant little to him. So it doesn't add up to me when the twins are magically turned into these super sweet caring guys while their twisted, evil and manipulative side is completely ignored. I am not saying they can't love, I am just saying that they surely have their own twisted perception of what love is 🤔 Sorry for my rambling, damn, it took soooooo many comments hahaha!!! OMG, Sorry!😂😂 I had a LOT to say 😂😂😂 But I just find these characters very interesting and I would love to read a story with a more realistic approach to the construction of their personalities (and their twisted way of loving too!). Let me know, please, if you happen to know about some fics/authors 😘 thanks again! 

- - - - - - - - -  Hi again, anon! I’m sorry my list of content in the previous ask wasn’t exactly what you were looking/hoping for. As of right now, besides the ones I sent you that may delve a little bit below the surface, I can’t think of a true ‘character study’ type story that I have read so far. But, again, I usually stay in the area of romance so I wouldn’t be surprised if there are such fics out there under a different genre.

I’ll be quite honest, it’s been a very long time since I’ve read any oc/(input character here), including ones with the twins. Normally, I forget they exist until someone brings it up or I stumble across one on Tumblr accidentally. I do agree, the twins suddenly changing for an OC (or anyone) can be a bit unrealistic but from my years of reading and writing, creating stories with such things is a bit of ‘wish fulfillment’ which, to be honest, isn’t a bad thing. Sometimes a reader just needs content that is kind of good-feeling type fic (though not in a sense of how murderous the twins can be but in them getting some kind of positivity in their lives, whether it be through an OC or another character in the universe). When I wrote Oc’s at the beginning, it was either wish fulfillment for me or simply just wanting these characters I adored to finally have some kind of happy ending which they probably did not deserve, at all. 

A reason you might not find such content is also because, character studies are hard. Especially if you don’t have a complete picture of the character. With the twins, a lot is just coming up with stuff, imaging their past and how it still affects them, even if, on the upper layer we’re shown, doesn’t portray those scars left behind. 

With Oc’s, they can usually be pretty hit or miss. It’s not like you’re taking an already known character with known flaws and putting them in your story. Those characters have a foundation already built. For an Oc, the writer has to literally make someone from the ground up, which is equally as hard without making them seem too whiny, too mary-sue like, or just too problematic. This can leave a lot to be desired which can create something unrealistic as well. That’s why I usually only look for content centered around characters from the show, instead of Oc’s; like with Bruce and the twins because canon-wise there is already something there (depending on how you look at it and write it). 

In regard to Ecco: firstly, I think it’s arguable what type of relationship she even has with Jeremiah when we first are introduced to them. We’re shown some concern on his end when she’s clearly been hypnotized but this can be seen as a boss concerned for an employee, an employee who he’s probably had for awhile now and is one of the very rare few who he trusts to an extent. However, we just don’t know much of anything about their relationship or past together. She might have hardly seen him, only contacting him through phone calls and text messages; she may have only brought him supplies through the maze and never was in his inner personal areas. This treatment is all possible given how Jeremiah is quite literally a paranoid mess before the spray, no matter how well put-together he appears. And, if we’re to compare this to his eventual obsession with Bruce Wayne, we can take a guess that Jeremiah and Ecco probably didn’t get very deep with this connection they had. Mainly because with just a few compliments, Jeremiah is invested in Bruce, something we don’t see with Ecco before or after the spray. So we have Bruce enter the picture (someone who has run into his twin on multiple occasions, a fact Jeremiah must know to some extent with his paranoia probably leading him to constantly check newspapers and the news for info on Jerome) and, if you look at things from Jeremiah’s perspective, besides complimenting him, Bruce looks at him and only sees Jeremiah. And this would be baffling to Jeremiah if he knows the affect Jerome has had on Bruce, for him to look at Jeremiah and not see his twin after everything would be just as big a compliment as anything because it’s differentiating him from his twin. Someone who has probably feared being compared to his brother, for people to look at him and only see Jerome (such as what occurs with Jim and Harvey only hours prior). Because of this, when compared to Ecco, we can deduce that either their conversations never went in such a direction, or she hardly had the extended physical contact to ever bring up Jerome or compare or compliment. If so, it’s possible with how Jeremiah is that something similar could have happened with Ecco. And this eventually leads into the spray where his only true attachment is not Ecco but with Bruce, especially, after his initial spray, Jeremiah’s hatred for Jerome is far worse than it had been before, making Bruce’s assessment of Jeremiah simply being himself and not his brother, far more endearing as well. So, in comparison to Bruce, Ecco means absolutely nothing to him, a means to an end. 

I’ll admit, reading content where the twins are somehow in a relationship (with an oc or canon character) while still being rather insane, are quite interesting. However, for stuff like that to work in a compelling and ‘actual’ way, characters like that have to be bent because these characters logistically working in that kind of environment may never be realistic anyways. This can be worked around of course, but it takes so much time and effort; even now, as I write my stories for Gotham, I’m still trying to work around how to make these ships work for the twins because they’re stubborn and although they have obsessions they, at their cores are not good people and while they may try, seriously try to better themselves, there will always be slip-ups.

I do agree, they can love but it would always be twisted in some way or another (look no further than Jeremiah with Bruce). They’re also a lot of fun to take apart and analyze or try and come up with a type of background that works with all the hints we’ve been given. Background-wise, the twins are really something a writer can make their own which is an interesting concept.

This turned more so into a long ramble of writing and Ocs and lots of Gotham lol but anyways, I wish I could give you a story to fit your needs. I quite hate when I have an itch for certain fics and I either can’t find them or the number of fics is so daunting that I don’t dare even try. I would recommend just going through them, possibly looking for complete content first, or ones with high hits or kudos (depending on the site you’re searching on) because I don’t have any at the moment I can suggest. 

(Honestly the ideas for the twins never stop coming lol, perks of their backgrounds and everything else being so hazy.)

I hope some of this message was at least interesting lol and I do wish you luck in finding good twin content that delves into their character or, maybe you’ll get lucky and someone will publish something like that soon! Either way, I hope you find something 😘

[judgeanon]

The Way of Masters

(art by Phil Noto)

So with her likely upcoming appearances in Young Justice and maybe Gotham and maybe Birds of Prey, I’ve had Lady Shiva on my mind again. Well... more than usual. And I managed to keep it bottled up so far but now I feel those urges again so let’s at least try to channel them into some hopefully decent comic book analysis. Today’s subject: why I can never get really behind any story that involves Lady Shiva teaching anyone martial arts. 

Expect the usual copious amounts of NOT MUH under the jump:

The concept of Lady Shiva as a teacher comes from two main sources: Jim Starlin’s Death in the Family, which established her as a teacher for hire, and Chuck Dixon’s first Robin miniseries, where Tim Drake ran into her and asked her to train him. It was further solidified in Gulacy and Dixon’s Knightsend, where she helped Bruce get his kung fu mojo back after healing from his spine injury. And then there was Gail Simone’s Birds of Prey, where Shiva trained Dinah Lance to try and turn her into her successor. On top of all that, there’s New52 Shiva having trained Jason Todd, and while I have no idea if it’s been confirmed in canon, I’m like 90% sure she must’ve trained Damian at some point too. So it’s pretty much a solidly established fact that Shiva trains people.

And I personally find it to be a fundamental misunderstanding of her character.

(art by Brian Bolland)

Now, first of all, logistics-wise I have a problem with people repeatedly going to train with a known killer when guys like Richard Dragon are just, y’know, there. And while there’s a dozen of possible in-universe explanations that you could possibly wield (It’s faster! It’s harder! It allows you to learn her techniques should you ever have to fight her!), ultimately I think the best explanation is just that it’s more dramatic. To be trained by someone diametrically opposed to your ideology in stuff you want to know but have vowed not to use is an absolute no-brainer in terms of dramatic tension. And that’s exactly why I don’t like it from the start: because every. Single. Story. That involves Shiva training anyone always ends in the exact same place: with Shiva ordering her student to kill and her student refusing to. Or in Bruce’s case, just pretending he killed someone. 

This is nothing but a pointless exercise in character reaffirmation that does nobody any favors. Of course Batman/Robin/Black Canary is not going to kill anybody. Tempting them with it is just going through the motions. It was old hat in the 90s, let alone now. And yet, in one form or another, it just keeps happening. And it keeps happening because none of these stories are really concerned with Shiva herself. They are stories about Batman/Robin/Black Canary getting stronger, with Shiva used as a tool whose characterization is based on the most surface-level reading possible of her. The problem is that these stories also feed into each other, just like how Hush establishing Shiva as a member of the League of Shadows snowballed into this hellscape where she’s literally nothing but a member of the League of Shadows. Lack of interest in her actual character creates and perpetuates these misunderstandings until nothing else exists. But now the question becomes, well, what is her actual character? Good question.

So in Denny O’Neil’s Question run, which I am never going to shut up about until everyone who even thinks about writing Lady Shiva reads through at least twice, Shiva physically and metaphorically kills Vic Sage, then saves his life. I’ve talked about this before but the short of it is that not only does she kill his body, but by presenting him with something he can’t understand, she also kills his stoic, narrow-minded idea of a black and white world. But once she’s saved him, she doesn’t stick around to train him. Instead, she gives him the address of the aforementioned Richard Dragon, who takes him in as a pupil. And this is where things start getting a bit floaty.

(art by Denys Cowan)

Because there’s a difference between teaching someone and helping them learn it on their own. Zen Buddhists know this. The idea is not to build a path for someone, or to guide them through it. The path is unique to every person and they have to walk it by themselves. But that doesn’t mean you can’t at least point them towards it. Which is what Richard does. Sure, he teaches Vic how to fight, but way later in the run, Richard explains how unimportant that is:

And make no mistake: Shiva is very similar to Richard in this aspect. Her interest in Vic is not about whether he can become a mighty warrior, but in what motivates him. She’s interested in seeing how Vic develops, and her reasons are, in her own veiled way, pretty much the same as Richard’s:

Right before this page, Richard explained that Shiva thinks Vic is fueled by a lust for combat, while he argues that it’s curiosity that motivates him. And the book never gives a clear-cut answer, showing Vic as an intensely curious creature (in fact, it was his curiosity about Shiva’s motivation that helped tear down his old black-and-white worldview) but also as someone prone to seeking the simplicity of punching dudes in the fucking face when the world gets too complex. Which is part of the genius of this Question run: nobody is ever that simple.

Now, it’s possible to transfer this to the exampled provided below and say that Shiva is similarly interested in Robin/Batman/Black Canary’s development. But only if you don’t really go any deeper than the pure surface. Because the difference here is that at no point through the entire Question run does Shiva demand that Vic take a life. She doesn’t want to prove to him that her way is superior, or that killing people makes you better. She doesn’t want Vic to become like her. She’s just interested in seeing how, once violently stripped of all his preconceived notions and brought back as an almost clean slate, he evolves. And it’s an evolution Shiva has respect for.

And that’s why I can’t get behind any story about Shiva as a teacher. Because just like Richard, she’s not there to try and tempt people to walk her same path of slaughter, sneering smugly at their heroic ideals of the sacredness of life. That’s a dangerously bi-dimensional reading of her that leads to endless rehashes of tired plotlines that go to the same wretchedly familiar places we’ve been to a thousand times before. There’s no deeper insight into the character of Tim Drake or Bruce Wayne to be gained by putting them in a situation where they’re forced to kill but they don’t. There’s no evolution, no characterization, there’s nothing to be gained except for a physical upgrade. And while they may not lose much from just going through the motions over and over again, Shiva gets it so much worse because her character is eroded by these nothing plots.

(art by Ed Benes)

In BoP, Simone tried to give Shiva a new reason to actively seek an apprentice, which at least demonstrates more agency on her part than the usual row of Bat-people knocking at her door. Simone’s Shiva is preoccupied with the future and creating a legacy, but again, that’s an idea I just can’t get behind at all. To have a character as steeped into Zen Buddhism and Taoism as Lady Shiva worry about life after death feels like a betrayal, and wanting to turn Dinah into a new version of herself clashes with everything explained above. And Starlin, Dixon, Gulacy, Loeb, Gabrych and Tynion IV don’t even try. It’s enough to make one wonder, is there any writer who actually paid attention when reading Question?

(art by Damion Scott)

Look, call this a reach, but I think there’s a pretty good reason why Lady Shiva’s first appearance in Kelley Puckett’s Batgirl has her wearing a purple coat that’s basically an update of her design in the very first issue of Question. And considering Puckett actually collaborated with O’Neil on the tail end of that run, it’s not even that far of a reach. More importantly, however, Shiva treats Cassandra pretty much the exact same way as she treats Vic: she tears her apart and then leaves her alone for a year so she can rebuild herself. That’s not to say it’s a 100% perfect callback. She does help Cass get her body-reading skills back, and sadly, some of Shiva’s kill-crazy personality has seeped in, making her give speeches about how Cassandra is a waste because she doesn’t kill and how if they are to fight they must fight to the death and whatnot. Which makes sense for Cassandra’s development since rejecting such notions is a big part of her character, although that doesn’t make it any less tired.

But ultimately, the reason why I bring up Puckett’s Shiva is because he’s pretty much the only one to actually take those aspects of O’Neil’s Shiva and bring them back into the light. In a perfect world, the whole “you must kill” thing wouldn’t exist and Shiva would just be satisfied with seeing Cassandra develop on her own. And as we move further into pure headcanon territory, I think O’Neil’s Shiva would be downright fascinated by the idea of someone becoming stronger than her in their own terms rather than just by trying to be like her in every way. Sadly, Puckett’s Shiva doesn’t stick the landing, since the respect she shows for Vic’s personal growth is nowhere to be seen here. And once Gabrych takes over, we’re right back into caricature mode, where we’ve stayed for over a decade save for that one Blackest Night Question special. Which was co-written by, big surprise here, Denny O’Neil.

I understand why writers go for it. It’s simple, it’s dramatic, it’s familiar, and it gives their characters something to brag about. “Trained by the greatest martial artists in the DCU, including Lady Shiva” is used to describe even people like Cassandra who never actually trained under her. But I think it’s an error. And I find the alternative not just more gripping and compelling but also ripe with possibilities for both characters in the equation. It forces the person writing it to sit down and think what could Shiva find interesting in each character, and how they could be changed by her presence, framing it all as a two-sided journey of self discovery rather than a melodramatic ideological struggle of which we all know the ending. All you have to do is stop treating one of the most interesting characters in modern DC as a tool to make others get better at punching.

[wondertrevcentral]

I see a lot of well-intentioned fans of Wonder Woman worrying that Steve Trevor’s return somehow negates what he did for Diana. I would like to change this conversation, for Wonder Woman, and for many movies where the impossible is part of the appeal.

At the end of Wonder Woman, Steve Trevor flies a plane full of poison into the sky and detonates it, sacrificing himself, after telling Diana that he loves her and he wishes they had more time to be together. The anguish of watching Steve’s plane explode, and the inspiration of his love, helps to propel Diana into wielding her awesome powers in full. She handily beats the bad guy, her uncle Ares.

Steve’s goodbye to Diana and death are well-staged and effectively wrought. It’s emotional and wrenching, and losing the first man that she loved a hundred years ago has followed Diana into the present day. “Thank you for bringing him back to me,” she writes in a candid e-mail to Bruce Wayne, who had sent her the WWI picture of Diana, Steve, and their trusty companions that kicked off Wonder Woman‘s flashback. The watch that Steve gave her, and that Diana has clearly kept as a treasured memento, rests nearby.

Ever since Wonder Woman‘s sequel was confirmed last year and Chris Pine rumored to be involved in some capacity, we’ve talked here about how they’ll bring the beloved character back: is he but a dream within a dream? A clone? A hallucination? Did Steve’s plane somehow get frozen, preserving him as a young man, as superheroic Steves are wont to do? Godly resurrection? Illusions? Aliens?

Whatever it is that brings back some version of Steve Trevor, it’s likely going to be one of the bigger reveals of Wonder Woman 1984, and I’m guessing our guesses will be off. What it does not do is somehow devalue or change what Steve did out of love for Diana and to help save the world in 1917.

Here’s the thing about death as fictional a plot device: it’s the oldest trope in the book. It’s far older than books—death, and heroes trying to defy it and return a loved one from that state, are among the first stories that humans told each other. Onscreen, in big action movies, death is often used cheaply. We’re so used to it happening we don’t blink when a trenchful of people take heavy fire in a movie like Wonder Woman. A narratively well-earned death like Steve Trevor’s makes more of an emotional impact, sure, and it can make for a more resonant movie-going experience. But the idea that Steve should have to stay statically dead in a fantastical film where anything is possible in order to somehow elevate his actions and what they did to Diana is mind-boggling to me.

Here’s the thing about death: in real life, it is one of the worst things that the people left behind will ever experience. Death is cruel, merciless, and it can leave you feeling like there’s an expanding black hole lodged in your chest for many years. For the rest of your life.

Here’s the thing about death if we could reverse it here like we can in fiction: not a goddamn person on planet Earth would lament lost heroism or sacrifice or any other grandiose romantic bullshit we lay on death to try to make sense of it. Your loved one died to save you but now they’re back again? Sorry, Steve, I’m just not feeling it anymore because of all of that squandered heroism, no one would say ever.

The fact of the matter where Wonder Woman is concerned is that Steve Trevor did what he did in 1917 and it was surely one of the worst things that Diana went through. Having Steve return in some capacity 67 years later does not alter that past. Steve’s death also did not make Wonder Woman a hero. Diana was already a hero, and the loss of him served as a catalyst at a dire moment. That’s what losing someone does: it changes you like a chemical reaction. But it does not create or define you.

We go to see movies like Wonder Woman, Avengers, and Star Wars in order to escape into fictional realities where people get to do the impossible and have abilities that we can only dream about. So often, our heroes rise to the occasion because of a poignant loss, because this is an instinct that we can all understand. Iron Man with Yinsen. Batman and his parents. Luke Skywalker and Obi-Wan Kenobi. Obi-Wan Kenobi and Qui-Gon Jinn. Captain America with Dr. Erskine and later Bucky Barnes. Spider-Man and his Uncle Ben.

But giving death the slip and coming back from it is also a huge appeal of comic books and their film incarnations. Incredible powers like the use of the Force and the capacity to appear as a Force ghost are part and parcel of what makes Star Wars tick. We want to witness worlds where death can’t quite hold us.

It used to be a longstanding fan and creator expectation in Marvel Comics that nobody had to “stay” dead except for Uncle Ben and Bucky Barnes. Those deaths were seen as being so essential to the narratives of Peter Parker and Steve Rogers that they could not be retconned or revived.

Then in 2005, comics writer Ed Brubaker and artist Steve Epting brought Bucky back onto the scene as the brainwashed assassin The Winter Soldier. It turned out that Bucky had not died in World War II after all, but was taken by the Russians, given a bionic arm, and reprogrammed to do their bidding for decades.

Bucky’s return from “the dead” is a perfect example of how such an important character’s revival does not negate the impact that his life and loss created in the first place. In fact, if anything, Brubaker created in The Winter Soldier arc the most tragic and brilliant foil possible for Captain America.

What is more difficult than having to face your best friend turned into your enemy? The film version of Winter Soldier is particularly excellent for the same reason. Cap’s agony at having to fight his old friend, and his unrelenting conflict about it and steadfast belief that Bucky was still Bucky beneath the brainwashing, helped make Winter Soldier into one of the most exciting and moving of the Marvel movies. Their continued melodrama and connection have carried through Civil War and Infinity War, and Bucky is a huge fan favorite. It’s hard to imagine where the MCU would have gone without the Winter Soldier storyline as a part of it.

Yet Marvel has also begun to overplay its hand where these tropes are concerned. They’ve been placing all of their chips on grief as the one failsafe to motivate a hero for too long. It worked so effectively for them before as a critical plot device that Infinity War can be read as a culminating series of attempts at impactful permadeaths in order to galvanize our heroes.

As the Russo brothers and Marvel Studios co-president Kevin Feige gleefully tease that some of the characters lost in Infinity War will really stay dead, they’re missing the point of why we love these films. We don’t need characters that we adore to remain dead for their lives to matter, but we’d like it if their deaths meant something when they happen instead of merely serving as a momentary plot beat.

It’s this kind of cheapened take on death-as-heroic-motivation that makes the Russos open Avengers: Infinity War with the horrific genocide of the Asgardians and the brutal deaths of Loki and Heimdall, just so that Thor is feeling sad and mad enough to go on a reckless quest. Do they know Thor at all? He would have done that anyway.

Will Loki or Heimdall ever return? I’d love that. Loki has also come back from death, not once, but twice, because he still had great things to contribute to the MCU narrative. Good characters in fantastical films don’t need to stay dead, but they do need good plotlines. The problem here doesn’t hinge on whether these characters should come back, but whether they should have died so wastefully in the first place. I don’t go into Avengers for gritty genocidal realism. I want to see them do the impossible.

Does Bucky Barnes’ return to the world cancel out who he was before or the value of how he seemingly died fighting alongside Steve Rogers, Steve’s shield in his hand?  Hardly. It heightened the emotional impact of both characters in the modern day because of what they shared in the past. Thus it would likely be with a reunited Diana Prince and Steve Trevor.

We cannot know the circumstances of how they will come together again, but their history, and Diana having felt Steve’s loss, makes the relationship all the richer and all the more compelling. Their experiences are something that we will never experience, but we can have the chance to cheat death and live vicariously through them.

Source.

[danyka-fendyr]

Scar Tissue Chapter 2: Dynamic Du-OH- A Sudden Realization

A/N: I’m posting this without editing because I hate myself. I will eventually come back and fix my many sins. Tagging @writingtheworks the works again. Do I think that Bruce Wayne invites his butler to family dinners? Yes, yes I do, and Gotham’s snooty societal standards can’t stop me or him. Take that you elitists. Rorie was exhausted. You really couldn’t blame her. She’d been listening to Jason monologue Romeo and Juliet repeatedly for about an hour now. She loved her best friend, but she was ready to stab Shakespeare. She understood this was his masterpiece, but did he have to do this to her?

“Jay, I promise you, you will get the part. The first 5 times, heck, the first 10 times, this was the most beautiful performance I had ever seen in my life,” I told him.

Jason broke character, collapsing out of a dramatic pose, arm extended, head held up, looking to an imaginary balcony.

“You cried the first time,” he said, grinning.

Rorie had never seen someone so pleased over her tears. ...Well, okay, that wasn’t necessarily completely true, but she’d fought the Joker, alright? He was pretty sick, and not in the good way.

“Yes, because it was amazing. We’ve been over this. You are amazing,” she said.

Jason blushed under the praise, his neck, cheeks and ears tinting pink. When Jason blushed, he blushed with his whole head. It was sort of cute. Or at least, Rorie assumed it would be cute if you were like, into that kind of stuff. Rorie, of course, was not.

“Anyway, you should try to get some sleep. We have patrol tonight. Plus, you wouldn’t want to look burned out for your audition. It’s no good having a Romeo who looks sleep deprived,” Rorie tried to reason with him.

“What if he’s sleep deprived because he’s been up all night thinking about his Juliet, and how she refuses to audition, despite Alfred’s best efforts,” Jason teased.

“And you. Don’t forget you,” Rorie sighed. 

Alfred and Jason hadn’t gotten off her back about this since they first started holding auditions for Romeo and Juliet. Rorie refused on the principle that the characters made a long series of stupid decisions ending in a tragedy that could have been completely avoidable. Jason had countered with the fact that he had caught her reading it out loud, rather passionately, mind you, when they had been assigned the story for English class. It wasn’t Rorie’s fault that the story was still emotionally compelling, despite entirely lacking logic. Juliet admittedly had some pretty lines.

“This is too cliché. Why couldn’t the school play be something prettier, like Wuthering Heights?” Rorie objected.

“Your obsession with Wuthering Heights will never end, will it?” Jason asked.

“The writing is beautiful Jason!” Rorie cried, more passionate even then when she was playing the part of Juliet.

“Maybe if you get the lead role this year they’ll choose it next year. You could get friendly with the Mrs. Dowly, convince her it would be a good idea.” Jason carefully dangled the carrot in front of his prey’s face.

There was a pregnant pause while Rorie considered.

“You really think so?” she questioned, shooting him an uncertain, slightly untrusting look.

Jason nodded, his enthusiasm making the gesture comical so that he resembled a bobble-head. “Absolutely! Mrs. Dowly always considers how her leads feel.” 

Jason would know. He was the theater teacher’s pet, and had been the lead many, many times. All the other theater nerds were jealous of him, if they didn’t absolutely hero worship him (something Rorie found ironically humorous, considering their nightlife).

Rorie sighed, the sound deeply resigned. In contrast, Jason whooped.

“I will only be auditioning,” she warned him.

“Absolutely,” Jason said.

“You will in no way try to convince Mrs. Dowly to show me any kind of special favor.”

“Of course not.” More bobble-headedness, this time a vigorous shake, like he was a wet dog.

“If I do, by some miracle, get the part, you will not gloat, tell me you knew it, or anything of the sort.”

At this, Jason pouted. Rorie glared.

“Can’t I be proud?” He gave her the puppy dog eyes.

He gave her the puppy dog eyes. Jason knew she couldn’t resist the puppy dog eyes.

“Fine. A little pride. But none while we’re in school!” Rorie caved.

“Yay!” Jason chirped, wrapping his arms around her, trapping hers by her side.

Rorie pouted, and Jason celebrated. It was at this moment that Bruce walked in, Alfred following closely behind with a curious expression on his face.

“What’s going on here?” There was a tone of deep, rich amusement to Bruce’s voice, the corners of his mouth twitching upwards in what was usually about as close as he came to a smile (unless he was playing the role of ‘Brucie Wayne’).

“Rorie’s going to audition for the school play!” Jason cheered.

“With conditions!” Rorie added, seeing the look of excited shock on Alfred’s face and the knowing approval on Bruce’s.

“Well, miss, I suppose we’ll have to get you in shape!” Alfred declared.

“Oh no.”

“O Romeo, Romeo! Wherefore art thou Romeo? Deny thy father and refuse thy name. Or, if thou wilt not, be but sworn my love, and I’ll no longer be a Capulet.”

“Wonderful, miss! The way you sigh it out is beautiful. Very wistful. Now if you could just make it a little bit less breathy,” Alfred instructed.

Rorie puffed a sigh, and Jason tried not to laugh at her. She looked frustrated. Not as frustrated as she could be, since she wasn’t doing math, but her hair was messy and her posture slumped, face red from trying to hold back an oncoming temper tantrum. Alfred had this tendency to sometimes work out the details a little too much when it came to Shakespeare, or really any kind of play or production. He was a man of the theater indeed. 

Jason decided Rorie might need a rescue.

“Maybe I could work with her for a bit Alfred. You could take a break, maybe make some snacks?” he suggested, knowing Alfred would never leave drama without a specific task and purpose.

“Cookies?” Rorie asked, a forlorn hope swimming in her eyes.

“Ah! Of course! You lot do look as though you could use something to munch on. It will raise the spirits!” Alfred clapped his hands, looking as invigorated as he always did when he was allowed within range of fine art. “I’ll prepare some fruit, and perhaps some cookies if I feel it is warranted.”

By that Jason was pretty sure Alfred meant that Rorie ate too many cookies and that she was going to get cavities. He was trying to be nice right now though, since it was obvious that Rorie was seriously considering dropping out of the school play.When she got the part, the entire household had been elated. Well, Jason and Alfred had been elated, and Bruce had been smugly pleased. Emphasis on smug. That was his adopted daughter, after all.Jason was pretty sure that if ‘Brucie Wayne’ wasn’t supposed to be keeping up his eligible bachelor status, Bruce would have posted his pride all over ever social media platform he knew how to work. Jason’s phone pinged, and he checked his notifications.

Scratch that. Bruce wasn’t able to keep it in anymore now that he had not one, but two children in theater. He had just made the dorkiest post Jason had ever seen in his life on Twitter. 

“So proud of @jtodd and @roreo for scoring roles in the school play! I look forward to seeing them play Romeo and Juliet, respectively. If you have the time, come down to @gothamacademy and watch. #Illbesittingfrontrow”

Jason hoped none of the other kids at school saw that. Jason knew every one of the other kids at school had seen that, even the ones who weren’t theater geeks. Jason was pretty sure any kind of a reputation he had was gone now.

“Oh no,” Rorie groaned.

“Oh no what, Miss?” Alfred said, poking his head into the room at the first sound of oncoming disaster.

Rorie extended her phone to him, letting him see the tweet Jason himself had just been looking at.

“All the kids at school will see this, Alfred! We’re done for.” Rorie exchanged a look of horror with Jason.

Alfred looked thoughtful.“We shall see, miss.”

And see they did. 

Arriving at school the next day, Rorie did her utmost to go incognito. Sunglasses and a dark hoodie obscured her figure, and she kept her head bowed as she walked through the halls. Jason didn’t bother with this. His strategy was to not show any kind of weakness.

He strutted down the halls, trying to appear more confident than ever before, his hair slicked back with gel he had stolen from Bruce a while back and his favorite leather jacket on. He would have been wearing sunglasses, but Rorie stole his coolest pair.

As it turned out, Jason’s strategy worked better, unfortunately for Rorie. Some of the boys tried to pick on him, it was true, but he just ignored them. If you looked closely enough, you might be able to see that he was riled up, but only if you knew him well. He kept his anger close and in check. He could always exact revenge later if he still thought they were worth it.

Rorie was taunted mercilessly though, since she reacted a little volatiley to the whole thing. The second someone had insinuated that her rich daddy bought her spot, she was spitting words that were dangerously close to obscenities, a seething pot ready to boil over. Jason had swept in several times that day to save her when it looked like she might not be able to control herself. In thanks, she gave him his sunglasses back.

Now, Rorie was sitting in the library, the only place where people would leave her alone, it seemed. She was reading through Jane Eyre again, trying to distract herself from the snake’s nest of anxiety, self-doubt, and bitter, petty rage boiling in her head. It wasn’t working that well.

It worked less well when Amanda Bixby sat next to her. Rorie didn’t dislike Amanda particularly, but she also didn’t particularly like her. Amanda was...Well, Amanda was a bit of an airhead. She didn’t mean to be, but she just happened to be that one girl that never thought about anything but makeup and boys. There was nothing particularly wrong with this mindset, but it simply didn’t mesh with Rorie’s more practical attitude. 

“So, Jason’s like, your brother, right?” Amanda said, her tone friendly yet suspiciously slimy sounding to Rorie.

“Yeah, I guess. More of a best friend, really.” Rorie shrugged.

“But you’re super close, yeah?” Amanda confirmed.

“Well yeah. We live in the same house.” Rorie didn’t feel it necessary to mention that they had shared a bathroom until last year when she had demanded Bruce let her have her own. 

Rorie was prepared for a plethora of things. Amanda was into theater, so it was entirely possible that she was hoping Rorie would be able to share some of Jason’s acting secrets with her. Or, it could be that she needed help with her English homework, something Jason also excelled in. As it turned out, Rorie was woefully unprepared for what actually happened.

“So what kind of girl does he usually go for?” Amanda asked.

Rorie choked a little bit. “What?”

“Like, does he have a type?” She twirled a strand of long brown hair around her finger.

“Umm….I don’t really know. He doesn’t talk to me about girls,” Rorie said, suddenly feeling very uncomfortable.

“Yeah, but I mean, you’ve got to know something about his girlfriends. Are they tall? Short? Blondes, brunettes? C’mon, gimme something here,” Amanda said.

In truth, Rorie was unsure that Jason had ever even had a girlfriend. He was only 15 after all. 15 was a bit young for a girlfriend, wasn’t it? Rorie felt like 15 was young.

“Why do you ask? I mean, it’s not like Jason’s particularly attractive or anything.” Rorie laughed nervously.

“Are you kidding me? He’s a total dreamboat. All the girls know it. Plus, have you ever seen his arms when he takes off that leather jacket?” Amanda bit her lip in a way that Rorie definitely did not like. “I bet he’s ripped. Not to mention that he’s tall. And he’s only going to get taller you know.”

Amanda was clearly not in the building anymore. Her eyes had glazed over dreamily, and Rorie took that as her cue to be anywhere but where she presently was. Sneakily, she made her escape, mumbling under her breath about some urgent play preparation she had to do.

Rorie raced out of the library so fast it was almost superhuman, forgetting to put her sunglasses back on as she went. They were perched on top of her head when she crashed into someone, causing them to clatter to the floor, and her to nearly follow. Fortunately for her, someone had good reflexes and caught her, a warm, firm hand holding her back and pressing her against a lean, muscular torso.

“I am so sorry, you have no idea how mortified I am, rea-” Rorie stopped short when she realized that the person who was holding her was rather familiar.

She pulled back, peering into their face to find none other than Jason Todd himself. Rorie wanted to say “speak of the devil,” but she was a bit distracted at the moment, because at it turned out, it would seem that Amanda Bixby was right. Jason Todd was a dreamboat.Rorie was unsure how she hadn’t noticed it before. It wasn’t like anything had significantly changed between now and an hour again, when Rorie had last seen Jason. However, now that it had been mentioned to her, he had very nice, well-defined cheekbones, a strong jaw, incredibly long black lashes, and the prettiest pair of blue eyes Rorie had ever seen in her life. She swallowed heavily as she realized that, prior to knowing who was holding her up, she had been appreciating their toned body structure as well.

“Careful there, Rorie. You’ll get hurt.” Jason smiled at her, revealing a blinding white set of perfectly straight teeth that seemed intent on sinking themselves into Rorie’s heart.

Oh no. Oh no.

Opening night had finally come, and Jason was bouncing around with excitement. He had no reason to worry. He had done this dozens of times before, and he had every confidence in his leading lady.

He was watching her right now, mumbling her lines under her breath and coughing as hairspray was applied rigorously to her carefully created Shakespearean hair. 

“Oh, Romeo, oh Romeo,” Rorie said, rocking back and forth slightly, to the deep consternation of the girl working on her hair.

“Actually,” Jason said, watching himself appear in the mirror behind her, already in full costume, hair done, “it’s ‘Oh Romeo, Romeo’.”

“I’m gonna fail. I’m gonna fail in front of everyone, and they’ll all laugh, and this will be the end of my acting career, and I’ll have to switch schools.” Her eyes, previously closed, snapped open. “I’ll have to switch schools Jason. I’ll have to go to a boarding school in Scandinavia where nobody knows my name.”

“You’ll be fine,” Jason reassured her, placing both his hands on her shoulders and shooing the irate amateur hairdresser off.

“But what if I’m not?” Rorie asked desperately.

“Then I’ll fail even more epically. I’ll say lines from Napoleon Dynamite instead, and then I’ll trip and fall on my face, and then I’ll roll over and start making snow angels, except there will be no snow, at which point I will have made my first mistake as it is obvious that one cannot make snow angels without no snow.”

“That is the stupidest thing you’ve ever said to me.” Rorie dead-panned.

“See! It works!” Jason grinned broadly, bouncing on the balls of his feet. Rorie, on her part, tried to look slightly less miserable.

“You’re on in 5,” someone informed him as they passed by.

Rorie gave him an unsure look, seeking a few last moments of reassurance.

Jason walked around until he was facing her, crouching so he could look her right in the eye. “You’re gonna be great, don’t worry.”

He smoothed down a few stray pieces of her hair, giving her one last strong, certain smile before heading to the wings. It was showtime.

Acts 1-4 went flawlessly. Despite her nerves, Rorie was a natural on stage. She sounded like Shakespeare had written her himself, and Jason was matching her ever move. They were a perfect pair, naturally, and they had the kind of trust most lead actors could probably only wish for. This came as a package deal with the many shared near-death experiences.

It was Act 5 where things began to get sticky. Specifically, the death scene. Everything had been going fun. They had rehearsed this scene in bits and pieces plenty of times before, and everything was timed perfectly. The grief they portrayed was stunningly believable, the laboured breaths and the hasty tears working together to paint a picture of gut-wrenching agony. Jason had caught a glimpse of Dick crying in the audience.

Specifically, it was Act 5, scene 3, line 125 that was giving Jason a good deal of trouble. He had said all the lines leading up to it, and now he found himself agonizingly close to a “dead” Rorie with the task of kissing her.

He had known, somewhere in the back of his mind, that he would have to kiss her for this performance. Maybe some tiny part of him had even looked forward to it, entirely without his knowledge or consent. They hadn’t practiced this particular scene, however, and Jason had conveniently forgotten about it until now. Or rather, he had been making a conscious effort not to think about it at all.

He hovered over her, his mouth inches away from hers. She was so warm underneath him, hair splayed out and hands neatly folded over her stomach, eyes lightly shut. Jason tried to steady his heart rate, failing miserably, and after running through a plethora of alternative scenarios in his mind, each more wild than the last, he determined that he would just have to do it. If she hated him afterwards, there was nothing he could do about it.

Gently, he connected their lips. It was like a revival. Her lips were soft and warm against his, and she tasted like oranges and cinnamon. Her body, almost unconsciously, craned into him, kissing back so softly and subtly that the audience couldn’t have noticed, but Jason most definitely did. Without thinking, one hand reached into her hair, cradling her head as he kissed her like Romeo would kiss Juliet, like a man would kiss his lover with his last dying breath, slightly clumsy, but intimate and gentle, with a fervor Mrs. Dowly had probably not foreseen.

He broke away, rushing through his poison scene and dying as quickly as possible. It felt fitting, since he was pretty sure he was already dead. Then, it was Rorie’s turn. What she did next was not entirely expected.

She worked her way through her lines with an untold urgency, weeping at the sight of her Romeo lying dead below her. Her performance was like nothing Gotham Academy had ever seen before, as emotionally charged as it was. And then, he broke from script. She kissed Jason.

It was similar to the first time, but less clumsy, and Jason nearly broke character out of sheer shock. He didn’t have the time though, with the brevity of the kiss. It was hard and fast, and then she stabbing herself with a fake knife as ripples of surprise waved through the audience.

The last few scenes were played out, and everyone took their final bows. Jason could see Dick sobbing at this point, overcome by emotion. Jason felt similarly overcome, unsure of what exactly had just happened. He rushed his way backstage, finding Rorie in the mess that was the closing of opening night. He grabbed her arm, whirling her around.

“Rorie,” he breathed out her name, still stunned even now.

She turned pink, staring at her feet as she answered. “Yes.”

“You kissed me,” he stated.

“You kissed me first.”

“On script,” he said.

“Are you mad?” Now she looked up at him, twinges of hurt flecking her eyes and accenting an ocean of bright green worry and fear.

“Am I mad? No, I’m definitely no mad.” Now, Jason grinned. He grinned like a fool. “Just wondering if you’ll do it again.”

Rorie smiled shyly, starting to look as giddy as Jason now felt.“At least buy me dinner first,” she said, mischief in her eyes and tugging at her mouth as she shrugged in feigned nonchalance.

“I’m pretty sure dinner is on Bruce tonight, but if you think I’m not going to buy you dinner at the next available opportunity then you are very, very wrong,” Jason said.

Rorie laughed, reaching up to hug him in his favorite way, the only way he ever wanted to be hugged by her ever again.

“Deal, boy wonder,” she whispered in his ear.

Dinner was awkward. Dinner way very, very awkward.

It wasn’t that Bruce disapproved, after the two stumbled through an explanation of their budding relationship. It wasn’t that Alfred disapproved, or Dick, even. No. Horrifyingly, they were all delighted.

“What do you mean you knew?” Jason and Rorie shrieked in unison.

Bruce tried to bring the table back to some form of decorum, since Dick’s exclamation of, “I knew it!” and small victory dance coupled with Rorie and Jason’s indignant screams was slightly out of place in one of Gotham’s nicest restaurants.

 “I mean, it was obvious. You two are always all blushy and cutesy around each other whenever I come over,” Dick explained, cutting into his steak.

“We are not!” Rorie protested, burying her face into her bouquet of brilliant red roses, of which it had turned the same hue.

Jason in turn felt like burying his face into the orchids he was currently holding for her, a gift from Dick. The roses were from Bruce, of course. Alfred had simply baked cookies back at home.

“I’m afraid you are, miss. It’s rather endearing, if it’s any comfort to you,” Alfred reassured.

“This is so embarrassing. You all knew?” Rorie said.

“And now the whole school knows, after that display.” Dick grinned. “You two got so lucky Mrs. Dowly didn’t tear you to pieces.”

As it happened, Mrs. Dowly had rather liked the show. She said that Rorie’s improv had been so impassioned Shakespeare should have written it into the original. Rorie had wilted into the very bottoms of her shoes, looking as though she were trying her best to melt into the floor.

A waiter came by to check on them as they were finishing up, Dick shoveling the last bites of his steak into his mouth. 

“Any dessert?” he asked politely, no doubt with good intentions.

“No!” Jason and Rorie shouted.

The last thing they wanted was more awkward dinner conversation.

“It would seem not,” Bruce said, smiling his, “people are watching,” smile. “We’ll just have the bill.”

“Yes, sir.” The waiter ran off to retrieve the bill, leaving Jason and Rorie to suffer once more.

“So how long had you been thinking about that kiss scene, huh Jay?” Dick asked, waggling his eyebrows.

Jason groaned, his face turning red in that full-flush way that he had about him. Rorie, on the other hand, decided to change tactics. If you can’t beat’em, join’em.

“You know, it’s kind of cute when you do that,” she said.

“What?” Jason asked, confused and slightly alarmed.

“Blush. You do it with your whole head. Neck, face, ears. It’s cute.” Rorie shrugged, trying to hide her own blush.

“Ewww, this is officially too sweet for me now,” Dick said, feigning a gag.

“Please Dick, try to behave like an adult,” Bruce said, pinching the bridge of his nose.

The waiter came by and Bruce quickly paid in cash, clearly having come prepared for an outing with his children. Rorie could only guess how enormous the tip was.

“Alfred?” Bruce said, raising his eyebrows as he looked at the man.

“I have already informed the valet that the car is to be brought around, sir,” Alfred said.

“Thank goodness, because I could use a good night’s sleep,” Bruce said.

Rorie and Jason grinned at each other. Bruce Wayne might get 8 hours, but his alter ego never did. It was time for the Bat to roam the streets of Gotham, Robin and Batgirl at his side. It was time to be a hero. 

[ohmy7hearts]

Being the daughter of Diana Prince and Damian Wayne’s significant other includes; pt. 4:

DrabbleA/N: Sorry for the delay whoops but here’s more angst. Finally got around to finishing it heh. I honestly don’t mind being a scriptwriter for a sitcom 

prev   //   next

Drabble based on this.

Jon would accompany you to visit Damian after missions with the Titans most of the time. Sometimes, he would know you would want some time alone so he would return home

The rest of the members would drop by now and then to check up on him but mainly you. They were the ones to make sure that you were resting, eating and taking care of yourself. Of course, this was asked by Diana but they would do it even without her request

You spent all your waking hours singing lullabies by his side, speaking of your friends to whatever plagued your mind. Only when the stars were shining and you knew you were entirely alone would you allow yourself to cry

Clark did not remind you that he could hear everything. From your heartbreaking sobs to your fears. He thought enough was enough when he saw you one day with your eyes gone of the spark that he was so used in seeing in yours

He turned to Diana, hoping she could do something but she too was at a loss. She wanted to tell you to leave his side every now and then but she knew it would end unpleasantly

However, with some encouragement from Clark and Dinah, and lots of urging from the rest of the Titans and JL members, she asked if you wanted to return to Themyscira

You did not even acknowledge her, merely shaking your head and Diana could feel the worry nipping at the back of her mind causing her to become more agitated with your attitude

Her voice rose when she pointed out how you have to take care of yourself too and Damian would not want this but it all just escalated down to a screaming contest

Both your voices could be heard throughout the building but no one dared to come between the two Wonders. However, when everything came to an abrupt halt, it confused and intrigued everyone so they all made their way down to the ward to see Diana rushing out, on the verge of crying

They found you wailing into Damian’s chest and him stroking your hair slowly. Was that not good news? He was awake

Bruce and the rest of the Batfamily, Alfred included, rushed into the ward after someone informed them about Damian awakening. You were feeding him and the smile adorning your face was the brightest anyone had ever seen since forever

Jon was there too, filling him in with everything but also being a tease

Dick was the first one to barge into the room, interrupting the three of you. He hugged Damian and snot was getting onto Damian’s hospital gown, much to his chagrin. The rest just surrounded him and Jon and you were compelled to leave to give the family time and space

Both of you found Clark outside waiting, apparently for the two of you. When he saw you, he looked torn but he just told you to find your mother

All the guilt from shouting at her in the morning resurfaced so you bade goodbyes and return home. All the while trying to string together an apology of some sort

You found her in her home office looking at photo albums and the forlorn expression she wore broke your heart

“κόρη μου (my daughter), do you still remember the day you inquire about men’s world? Why I am so hesitant to bring you here?”

“The first thing you taught me was to love, mother. Even before I could wield a sword or walk without falling. So why are you against me loving Damian? Are you suggesting that he is unworthy of love?”

Diana looked at you, disbelief was written all over your face and unshed tears in your eyes, “I am not implying that the reason I second guess my decision was because of Damian. He is worthy of love and he needs it but I worry about you, my dear.”

She stood up from behind the desk and walked towards you. She caressed your cheeks with the gentlest of touch and it was hard to not notice the love in her eyes: “Even I am a martyr to heartache despite how long I was given the time to grieve.”

And everything fell into place. In her own ways, she was scared for your sake. Your mother, whom you always admire for her constant strength, was still suffering from the pain of losing her first love

“We are immortal, κόρη μου. And that means while Damian ages, you will stay as youthful as you are in your prime. Until Death calls for you, you are to not desert this world. Be careful when treading the world where Aphrodite blooms; love is as powerful as it is dangerous.”

So then the thought of Damian with greying hair and wrinkles with the permanent frown on his face flashed through your mind. Popping bones and body weakened due to old age. Him on his deathbed, just like him in the ward but permanent. Yet the only imperfections on you would be your battle scars

Confused, you ended up crying, there in the arms of your mother. While she hushed you with Greek lullabies. It reminded you so much of when you had nightmares but this time it was not faceless shadows with fangs that haunts you but the idea of leaving behind everyone you love - Damian, Jon, your teammates and all the people you’ve learnt to call your family

The next day, you dropped by Damian’s ward with a bouquet and when he saw you, you could see the life in his eyes being reignited

You spent most of the time talking about what happened while he was in a coma while your hands intertwined with his. His thumb brushed the back of your hand in a comforting manner and you could not ask for more

You excused yourself when there was a mission and before you could leave, he kissed the back of your hand and murmured: “I’ll be waiting for you here beloved. Be careful.”

Your heart leaped and was caught in your throat hence you could only nod. He chuckled looking at your widened eyes before sending another kiss to the back of your hand

Suffice to say you were not in the best condition to fight with your mind clouding with thoughts of Damian and how much your plan would hurt both of you but it would be for the best right?

So when you got back from the mission, Jon asked you on why you were so distracted and you shrugged it off as “just tired” which led to Starfire lecturing you to take care  of yourself more and Beast Boy suggesting some places that sell amazing vegan food

You went to bed without visiting Damian again. And sleep did not come till late into the night, almost morning

Your plan was simple: Don’t come into contact with Damian unless it involves mission

It was easy for the following weeks considering there were rather few missions for the Teen Titans which led to Damian being stationed home more and giving you the chance to wander more

You spent time with other heroes, including the older ones, especially with the Wonder heroes. Despite not being happy since you were even ignoring his messages and calls, you were content.

On the other hand, Damian was beyond puzzled on why you were not answering any of his messages and calls and considering his brothers’ teasing nature, he grew more frustrated whenever you were brought up. He would visit you at your apartment but he knew he needed more than just a few hours to talk with you but he didn't have more than a few hours to spare

Every time he was on patrol, he wondered why you would not join him like you always did so when Jon did join him, he was on the receiving end of weeks’ worth of pent-up frustration

Jon, being the angel he is, bugged you into joining him and Damian on patrol for old time’s sake and after being spammed with calls, messages, whining and begging, you gave in. You wondered how Lois and Clark had  not yet berated him for using so much call time and messages

Unfortunately, when you arrived with Jon at the clocktower, you were witnessing the end of a once-in-a-blue-moon rant session and Damian asking for help from Maps Mizoguchi and being an angel, she was giving Damian a much-needed hug considering he was starved of affection from you.

You did not know that and assumed the worst so you flew away before they could notice you and you could not help the tears from falling freely. Fly straight into your mother’s arms you did

Jon, on the other hand, was shellshocked because how can Damian Wayne accept affection so easily from someone other than you? And he could not help asking “are we interrupting something?”

Maps was confused because we?? Who was we? There was only Jon. But Damian was horrified.and all he could think about was you and ways of how to explain it to you so he jumped away from the building and to the manor in hopes of stealing the batwing  

[danschkade]

ANALYSIS -- BATMAN: GOTHAM ADVENTURES #17

On a recent trip to visit my folks, I went through some boxes and found, sans cover, this copy of 1999’s BATMAN: GOTHAM ADVENTURES #17. Gotham Adventures was my full-stop favorite comic when it was coming out, a combination of me being smack dab in the middle of its target demographic and it being really, really well made. Tight story, dynamic artwork, clean, crisp colors and letters. As I transition from Vacation Dan back to The Schkade That Works, I thought it would be a useful exercise to go through this issue, page by page, to see how it ticks.

I’ll be focusing mainly on the pencils and colors by Tim Levins and Lee Loughridge, respectively, plus Scott Peterson’s script — Terry Beatty is one of my favorite inkers ever and letter Tim Harkins acquits himself expertly, so I won’t have much to say about them beyond “continues to be amazing, surprising no one.”

And please, feel free to check me on any mistakes I might have made, add your own commentary, or share similar examples of good comics done well.

Batman: Gotham Adventures and all characters contained therin are of course property of DC Comics, reproduced here solely for educational purposes.

PAGE ONE

We open strong with a full-page splash. Three distinct players whose suits, hats, and bad ties immediately code them in the Timm-verse aesthetic as ‘Hoodlums’ give us immediate sense of threat. Their momentum is heading left, into the fold, against the western flow of reading; this is because they’re bad guys — their actions go against the proper order of things, up to and including the reading flow. But also for another reason, which the right-most hood’s reaction sets us up for, compelling us to turn the page.

PAGE TWO-THREE

An even stronger followup with a double-page splash. Batman smashes in through the window in a powerful left to right movement, in direct opposition to the gangsters’ movement on the previous splash. The background establishes the family Batman is there to protect, as well as the shabbiness of their apartment and clothes. The fact that Batman’s cape can still be partially outside the window while he’s hitting the hoods who just came through the opposite doorway immediately sells how small the space is. What could these poor people possibly have that’s worth three armed gunmen kicking down their door?

PAGE FOUR

This page is all about one thing: establishing Batman as an overwhelming force. Strong left-to-right movement, always dominating the panel, no signs that this is especially difficult for him. His first line of dialogue: a piece of short, relaxed, confident detective talk.

PAGE FIVE

The first two panels do a lot. Batman converses openly with the Agronas family, who clearly trust him. He’s a terrifying physical presence, but a terrifying physical presence of the people. It also shows that Nicky Agronas is bright — wears glasses, reads the newspaper. As soon as they mention the husband, the husband appears, which is a nice clean introduction for that character. There’s no reason the husband could’t have been in the double splash that introduces his wife and son, but having him coming home in the middle of this scene is a great way to inject a little motion onto a page that would otherwise just have been four people talking in a room. Lastly, the sudden use of heavy black — enhanced by Loughridge’s shift to unnatural yellow lighting — makes Batman’s suspicion of the husband feel intimidating without having to change his physical demeanor, which would have both been over-the-top and undone the work the first couple panels do to make him a sympathetic protagonist.

Academic sidebar: Setting aside that this is an issue in a series featuring one of the most famous fictional detectives of all time, how do we know Batman the protagonist of this story? Because he’s the one doing things and asking questions, moving the plot forward.

PAGE SIX

Nice one-two beat with the first two panels on this page: Panel one, Mr. Agronas is calmly answering the question — he’s a good citizen with nothing to fear from Batman. Batman still dominates the frame, though. Panel two zooms in on Agronas, putting the question of his involvement to bed with a simple, honest mini-joke. Letting him have a panel all to himself to say this is a good way to humanize him. In panel three, Batman continues to tower, but there’s no threat of violence. Here, as on the high-angle shot in panel three of the previous page, we see some shattered glass to remind us of the damage to the window and door from earlier. The money Batman leaves them for said damage is totally understated, with only the bright green color drawing attention to it. Batman’s a stand-up guy, but drawing attention to it wouldn’t fit his image.

PAGE SEVEN

There’s nothing in this first panel that says “JAIL” or “POLICE” — it’s just a bluntly governmental-looking building (I believe it’s specifically the blocky grey columns that give it this feeling), but we can tell from the fact that there’s prison bars in the next panel that that’s what the building is. No need to add extraneous detail. I like the design Levins gave the head hood, first seen on page one — the unibrow is a great way to sell the change from frowning to fear. Note also how many memorable features the big prisoner has — bald, scar, blind eye, bad teeth. He’s easy to remember, which will become important shortly.

PAGE EIGHT

Loughridge’s sickly green colors of the previous page snap back to natural lighting on this page, immediately conveying the change in environment. And hey, how great is that Commissioner Gordon silhouette in panel one? That’s some smart use of character model. Regarding the design of the big prisoner from the previous page — we see here that he’s in fact Batman in disguise, which actually saves us a lot of space on this page; instead of showing him removing the disguise and then putting on the cowl, we only need to see him opening the shirt to reveal the bat emblem, and then in the next panel, bam, he’s Batman. We know Bruce Wayne doesn’t look like that. We know it’s a disguise. We get it. It does rely on the reader having a basic knowledge of these characters and this world, but all things considered, that’s a pretty safe bet. Couple other things: Levins keeps the energy up by skewing the axis of the four panel grid, which also gives this rooftop scene a nice sense of vertigo. I’m actually not a huge fan of the last panel — I find that the upside-down pose kind of undercuts the gravity of what he’s saying, I think the leftwards movement is weird, and the whole panel is just, like, tangent city. That said, still a strong page.

PAGE NINE

Again: Batman as an Overwhelming Force. I know I just bashed the previous page for its leftward movement, but on this page it works really well — the wreckage of Batman’s assault on the house leads leftward towards the front door, up the stairs, ultimately across Zarelli’s desk, towards the man himself. I think this counter reading flow movement really effectively sells Batman as an invading presence in this man’s home. This page also shows us the wealth and power of Enrico Zarelli, who we finally see in the last panel after being mentioned regularly for four pages; The huge house, the framed artwork, the dozen armed thugs. See also the confidence of his speech, and the fact that he’s shadowed just like Batman. There’s an implicit feeling that this is a meeting between equals.

PAGE TEN

Nice that our first full look at Zarelli has him in his own panel, with the cowled shadow on the wall behind him suggesting Batman’s off-panel movement towards him. Great acting here — I love how Zarelli no-sells Batman’s gimmick.

PAGE ELEVEN

Levins (with the round panels boarders) and Loughridge (with his deceptively-hard-to-pull-off-well use of grey and sepia tones) work together well here to make the scene a flashback without drawing attention to that effect. Note how we don’t need to see Zarelli’s whole body to know he can walk, we just need to see him moving at the same height as other, presumably ambulatory people. Cool dramatic composition in the last panel, placing us in the line of fire along with Zarelli and his men.

PAGE TWELVE

This use of shadow to cleanly yet powerfully suggest something gruesome off screen is something ‘Batman: The Animated Series’ did so well, and it’s likewise effective here. Seeing Zarelli’s clenching hand (the Z ring was established on the previous page) gives us just enough intimacy to feel his pain. The use of black as a costume design element in this scene makes Zarelli, his son, and Batman feel a little more important and real than the hoods on either side.

PAGE THIRTEEN

I like that there’s a batarang laying on the ground amongst the dead/unconscious gangsters. It’s not necessary, but we saw him throw it on the previous page, so it’s a nice little piece of continuity. The final two panels have added impact because they’re the last before the page turn, giving them a feeling of isolation and hopelessness (undercut slightly by the fact that the page turns to a very colorful double page DC Kids page encouraging young readers to enter a nabisco sweepstakes, recycle this comic, and, perhaps most puzzlingly, pick up the first issue of the ‘Day of Judgement’ crossover).

PAGE FOURTEEN

Good call having Batman’s cape closed over him on this page. It makes him less aggressive, almost judge-like, befitting the respect he’s giving this man who lost his son. The cool coloring in panel four adds impact to the dicey situation Batman now faces.

PAGE FIFTEEN

Appropriately, we go from talking about sons de facto and de jure to having Batman talk it over with Dick Grayson, his son by any other name. Here, the upside down thing actually serves to break up the mood after a heavy scene. The fact that they’re talking about serious business while casually practicing acrobatics makes the scene particular to these specific characters — even when there’s no one to punch and nothing to detect, there’s still always Batman stuff going on in this Batman comic.

PAGE SIXTEEN

This page rules. I love how much motion there is, even down to Dick’s change of arm position in the background from panels one to two. It makes the motion of Bruce pulling off the mask seem smaller and more intimate by comparison. And that last line is just all-american grade-A understanding of character. It’s informed by Bruce’s origins, but not directly referencing them. He can’t put his personal desire to see Zarelli’s empire destroyed before his human duty to give Nicky the chance to know his biological father. Panel two of this page also features our first and only bleed art (art which extends beyond the edge of the physical page, as opposed to art contained within the boarders of a panel), which further gives the Batcave a sense of hugeness, and nicely breaks up the layout of the page besides.

PAGE SEVENTEEN

Note that the only characters we can clearly see on this page are Nicky and Zarelli — the scene is about them, not Batman and the goons, who are all either far away or in shadow. Nice touch, the goons all being in casts and bandages. I can’t even put my finger on why that works so well; they’re not really there to guard anything, since Batman already went through them once without much trouble. I think their main purpose on this page is to make us feel how Nicky feels in this place; this big house full of men with guns, this intimidating world this man is asking him to be a part of.

PAGE EIGHTEEN

This page is lit warmly, with lots of sympathetic angles. It’s not until the last panel that Zarelli’s pitch is thrown into any kind of suspicious light. “Without family, you have nothing” — but family with Zarelli means gunmen, tainted opulence, and the looming, annihilating specter of Batman.

Now, I’ve eschewed ads in my scans until now, but I include this one as a particularly good example of how even the best writers have no control over what image might end up facing an important emotional moment.

PAGE NINETEEN

The first page dedicated entirely to Nicky and Zarelli. The very sympathetic first panel transitions into an intense close up in panel two that makes Zarelli’s offer feel almost like a threat, even though that’s clearly not how he intendeds it. Zarelli can’t help being the dangerous gangster he is. The first time Nicky speaks, it’s to ask about his parents, and I love Zarelli’s castoffish response, “The people who raised you?”

PAGE TWENTY

Another page solely of Nicky and Zarelli. If the last couple pages have been all about Zarelli’s pitch, this one is entirely about Nicky’s process. The Thinker’s a little on the nose, but I dunno, it works. And it goes towards our ongoing theme of Nicky Is Smart. He’s staged strongly throughout, reflecting the strong decision he makes. The choice to include the background in panel four helps reinforce Nicky and Zarelli’s spatial relationship, which heightens the act of walking away. That it’s this close to the end of the story and Peterson can still devote an entire page to this moment shows how well-paced the issue is.

PAGE TWENTY ONE

The goons become useful again in this final action beat. Batman Overwhelming Forces them into the doorjamb, a good use of the environment to make it clear he gets to them before they can get after Nicky, but his real rage is saved for when he turns around toward Zarelli. He’s huge in this panel, as aggressive and dangerous as we’ve seen him in this issue. Zarelli, by contrast, is made small by a high angle shot, his hands folded in his lap. The four panel grid is even skewed so as to squeeze him into the corner, in addition to making the action in the previous panels more dynamic.

PAGE TWENTY TWO

It’s Batman and Son again, with the green glow of the batcomputer establishing the change in location. The note to Lucius Fox in panel two is a nice large scale version of him leaving the money on the Agronas’ table on page six. And Nicky would be a good candidate, too — this is the (or at least a) payoff for Nicky Is Smart. Panel three is small and all utility, showing Batman’s change back to Bruce Wayne as we transition up from the cave to Wayne manner, a panel made necessary by the fact that we haven’t yet established that location in this issue. We’re left with a nice big final panel, rosy and nostalgic in direct contrast to the green of the batcave. Bruce looks from left to right at the portrait of his parents, mirroring the portrait in Zarelli’s study, cementing the emotional connection he feels to a man who is in all other regards his enemy. You could read the fact that Bruce’s sitting as an additional corollary to the wheelchair-bound Zarelli, but I think it’s just that a seated position works best for the horizontal composition of the panel. Strong ending for a very strong issue.

LETTERS PAGE

Nothing insightful to offer here, it’s just that I’ve always thought this next issue cover was rad. I probably have that one too, somewhere.

(The missing cover, by Bob Smith and Terry Beatty, is awesome.)

[devontroxell]

The 10 Best Famous Storytellers and How to Become One

Storytelling is one of the oldest forms of conveying our history. Since the beginning of time, we really haven’t changed much.

From cutting-edge CEOs like Richard Branson, who gathers his team around a fire to swap stories, to motivational speaker Tony Robbins, whose stories have inspired thousands to become their best selves – throughout history, storytelling has ignited our spirit to reach higher.

Storytellers can not only inspire us and motivate us. They can educate us, create movements, and help us to open our minds to all of the possibilities that life has to offer.

The greatest storytellers simplify. Richard Branson once said, “If your pitch can’t fit on the back of an envelope, it’s rubbish.” Business leaders like Bill and Melinda Gates are experts at explaining complex subjects using simple words.

Effective communicators simplify the story and craft their message in words that are so simple, an elementary school student can understand.

Great brands and growing businesses all have great storytellers behind their success. They have to tell their authentic, compelling stories to build the relationships that carry them to success.

Every great relationship, brand, and business has to be built on trust, and the power of a great story can build the foundation.

What Is Storytelling?

Storytelling describes a form of human expression where stories are shared with an audience for educational purposes, for entertainment, to impart moral values, or to achieve cultural preservation.

There are so many ways storytelling can be used, which is why most storytelling, at its core, is used to encourage a listener’s imagination using words and actions. Storytelling helps to unite people as they identify with each other based on common human experiences.

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This means that storytelling can be used in marketing, and when it is done right, it can be highly effective! Marketers can use storytelling to truly connect with their target audience.

In marketing, it isn’t about the product or service. It’s about how you can weave your offerings into the story of the customer’s life.

For instance, Subaru often communicates “love” in their marketing ads to describe the way the brand fits into customers’ lives. They tell a story of how giving your child, wife, sister, or brother a car is loving because of Subaru’s awesome safety features.

Why Marketers Need to Learn Storytelling

Here are some reasons why marketers should use storytelling in their marketing messages:

Stories Help to Create Memories.

Hearing a good story helps people to remember information whether they recognize it or not.

This means that when an audience hears a story, their brain creates images, they feel emotions, and they hear sounds. This psychologically allows them to remember what you are telling them better than if you simply told them the facts about your products.

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Sometimes marketers don’t even need their audience to listen actively. The stories will stick to the audience anyway when they are told effectively.

Stories Engage Customers and Keep Them Interested.

Aggressive advertising messages hurt business, whereas storytelling helps business by keeping customers engaged and interested. This is because storytelling sparks emotions that regular advertising does not.

Touching your customers feelings also influences them to engage with your brand. When customers feel like they can be a part of the positive story you told by buying your products or services, or by engaging with your brand on social media, then they will be more likely to remain loyal to your brand.

They may also tell their friends and family about your brand and submit good reviews just because you provided them with a great story.

Great Stories Make Great Content.

Have you ever thought about why content is king? It is king because people love stories.

They like watching videos, reading blogs, and consuming other content because it gives them an exciting experience. Through these exciting experiences, they remember your brand name.

The stories you tell can be woven into all of your content. And if your content marketing contains enough interesting stories, then the more likely your audience is to link things in their life with your brand.

Storytelling Is a Powerful Form of Learning.

Since storytelling helps people remember information better, it also helps us to learn. They transmit knowledge and meaning.

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Other than telling stories, marketers should also listen to stories to learn more about their audience. This helps them to understand what is going on in the marketplace so they can craft messages that help your products or services fit into those stories in a meaningful way.

How to Become a Great Storyteller

Some people are natural storytellers, but others need a little bit of help. If you need some help cultivating the art of storytelling, here are five steps you can take to help you become a great storyteller.

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1. Plan Out Your Story and Write It Down.

If you want to tell your story aloud to an audience, it may be a good practice to write out what you are going to say. This doesn’t mean that you have to write out everything you will say word for word.

Instead, you can plan and organize your talking points into an outline.

Use your talking points as a reference and then ad-lib the other parts of your story to make your story seem natural like you are having a conversation. When storytelling flows naturally, it helps create a greater connection between you and your audience.

2. Make Your Story Personal.

People will invest more into your story when you add your personal touch to it. Talk about your personal experience as it relates to your storytelling topic, and your audience will be more likely to care about what you are saying.

For instance, a speaker may talk about how they had an experience with unclean drinking water as a child to link to the reasons why they promote clean water initiatives now.

3. Understand Who Your Target Audience Is.

Your story should be adapted based on your audience. The story should be personal, but it should also resonate well with the audience you are speaking to or writing content for.

For instance, your story will change when you are talking to investors versus when you talk to your customers because they are interested in different outcomes.

4. Sprinkle Your Main Points Throughout the Story.

Don’t use all your main points at the beginning of your story.

If you don’t use your main points throughout your story, you will lose your audience. Keep them interested by providing them with main points at the right time to pace your story well.

5. Leave Room For Surprises.

The best storytellers don’t want their audience to know exactly what to expect. This means you must hold back some of your most pertinent information to surprise the audience with awesome information later on.

As your story unfolds, throw a plot twist into your story to recapture your audience’s attention.

To help you understand storytelling better, let’s take a closer look at some of the best storytellers of all time. Study what they do, and try to develop your storytelling strategy based on some of their best skills.

The 10 Best Storytellers of All Time

Here are 10 of the greatest storytellers of all time and what we can learn from their stories:

1. Anita Roddick

Although she’s gone now, Anita Roddick was one of the greatest storytellers in business. She built the Body Shop on a great story and inspired millions through the stories behind her products, its support against animal testing, her belief in basic human rights, ethical trading, the arts, and the environment.

In one of her last interviews with the Daily Telegraph, she said, “One of the most intriguing things in management and in business is the role of storytelling – people need the anecdotes to do the work they do.”

She was a great archivist, and she took the history of the Body Shop and created the stories that grew her brand, shaped its strategy, and identified what made her organization great.

From her, we learn that our history is who we are. Telling the stories of our values, our successes, and our failures can influence the direction of our business and build a brand.

2. Walt Disney

Whether you’re watching one of his films or visiting his theme parks, Walt Disney told stories that transcended age to create experiences that immersed people in his fantastic worlds.

Disney understood that creating an unforgettable experience meant focusing on the minute details and how those details contributed to the full story.

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What we can take away from Disney’s magic is that using details can create an immersive experience. Just make sure that the details don’t detract form the story you’re trying to tell.

3. Richard Branson

Richard Branson is one of the richest and most powerful men in the world.

He got that way by never shying away from a conversation and an opportunity to tell stories about the remarkable moments of his life and the lives of others.

He freely shares what he thinks, what he has seen, and what he does. That openness is reflected in the Virgin brand. He understands the power of nuance, even if it’s not polished, that makes a story captivating.

The takeaway? The flaws are what make your stories interesting and memorable. Don’t polish every detail: Just tell your story, flaws and all.

4. Bruce Springsteen

For decades, “The Boss” has painted pictures of the American experience through his songs.

Great stories have villains and heroes, they have conflict, happy endings and sad endings, and sometimes, no ending at all.

The stories Bruce Springsteen tells are often inspires by the stories of other people. His multi-platinum hit “The River” was said to be inspired by his sister’s relationship.

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Because his stories are so deeply personal, they have the ability to draw you into the song as a character living the experience. His talent is making the listener feel like their story is communal – a shared history, and that makes you feel less alone.

Great storytelling brings us together by touching us on an emotional level and creating a shared experience that makes us feel like a part of something bigger. By framing your story in an emotionally inclusive way, you can work to build your tribe.

5. Steve Jobs

Steve Jobs is a must on any list of storytellers. His entire career was based on stories.

He understood that his products didn’t just need customers; they needed disciples who would tell his story as if it was their own to move his business forward. And that’s what made Apple.

The best storytellers get others to tell their stories for them. In order to do that, the stories need to be recallable and motivated.

If your stories have emotional impact, resonate with the listener, and are relevant (which comes out in the details – see Walt Disney above), your listeners will do most of the work for you.

The lesson? Create an experience worth sharing if you want your story to spread. It has to be memorable and backed up by the facts (e.g., your product) to resonate and be effective.

6. Sheryl Sandberg

Through her own personal anecdotes, the COO of Facebook and author of Lean In uses her position to address common problems that men and women face today.

Her stories are ones that we can all relate to. By tapping into her personal experiences, ones that are sometimes surprising to hear from someone so powerful, she generates empathy with her listeners, empowering them to reach new heights.

The takeaway? Sharing personal stories can make you feel vulnerable, but your vulnerability is what truly resonates with listeners. It’s the tie that connects us all.

7. Tony Robbins

Tony Robbins built his career on his ability to tell a story.

His passionate story of his humble beginnings, “…living in a 400-square foot apartment and washing his dishes in the bathtub,” is something almost all of us can relate to.

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Remember those first years on your own after college? His inspirational story of how he built his company and his life to the point where nothing is impossible is inspirational and has lit the fire of change for thousands of listeners from all over the world.

We all have a story. Even if uninspiring, it is still being written. With creativity and drive, anything is possible. Robbins’ stories work because we’re wired to root for the underdog. Struggle is a part of life, and we find stories of triumph over the odds inspirational.

8. Oprah Winfrey

Oprah is possibly one of the most well-known talk show hosts of all time. She has inspired millions with her stories and interviews.

Her story began with humble beginnings and hardship. A classic rags to riches story with some hard work and tons of accomplishments along the way.

She also believes in the power of storytelling and is quite good at helping other people tell their stories as well.

Her show became a place for people of various backgrounds and social statuses to recount and discuss their stories, along with a variety of social causes and issues.

The takeaway is that being a great storyteller helps to encourage others to tell their stories too. This helps to bring more ideas to light, which opens up a world full of possibilities.

9. Elon Musk

CEO of SpaceX and Tesla, Elon Musk is an effective storyteller who has inspired and affected great change in his industry. He has effectively convinced investors to contribute high amounts of money into risky endeavors. This is due to his drive and his belief in his business ideas.

He is able to explain his high-concept ideas in a simple way that helps to engage his audience and spark imagination.

You can learn a few things from Elon Musk’s simplicity when you explain complex ideas to your audience. If you understand something well, you can explain it in a way that other people can understand too.

10. Stephen King

Stephen King is an iconic writer and storyteller. He is a master of suspense, and not only can he write best-selling stories, he can tell great stories orally as well.

In his talks, he emphasizes his need to write more than he does anything else, and how being a good writer mostly starts with reading great stories. King also tells the interesting story of his life that shaped him into the successful author he is today.

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He never let the critics get to him and he continued to do what he was passionate about and shared his love of storytelling with others.

Today, we’re bombarded with choices. Who we do business with often comes down to who tells the most compelling, honest story.

Having a good story can define your brand, explain your history, provide the listener with a better understanding of your values, and help you to grow your business.

In the business world, the most successful companies have the most compelling stories. Storytellers are all around us. It’s time for you to share your story with unflinching honesty, warts and all!

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