#character meta – family.

[incorrectbatfam]

[aingeal98]

More Jason and Cass thoughts (sorry but also not sorry) but if I was magically given full control over DC and could write what I'd want obviously I'd make Cass Batman but I've been thinking of what sort of reaction and role Jason would have in response. I think I'd write his version of "Congrats on the new job!" as a test, involving the Joker and civilians and gangs and Red Hood and a ton of explosives. Bruce failed me, and now he's given up. You're his successor, let's see how you handle this dilemma that freaked him out so badly he threw a batarang into my throat rather than let me avenge my own death in front of him.

So obviously Cass will overcome the traps and the puzzles. That's the fun part to show how competent both of them are and sprinkle in little character moments as we go. But then we reach the emotional crux of the matter, probably laid out as some sort of saw trap because it's Jason. Here I am, a victim of murder. You say nobody dies tonight but I did, and I want the man who did it dead. Not only did Batman fail to avenge me but he failed to stop the Joker from going on to create even more victims. What right do you have to stop me from getting justice for myself? What right does this man have to life after what he's taken from me and from countless others? I'm not trying to kill a random stranger, I'm specifically demanding justice for my own death that I never got while I was gone.

There are two ways this could go. The straightforward route if I knew my time on this run was limited would probably be a pyrrhic victory like the ones Cass's og series was so fond of. Just like Bruce in utrh, she acts on instinct and saves the Joker (and Jason this time) . A win technically, but she fails the test. Jason is once again vindicated but with nothing to show for it. The story ends with Cass sending the Joker back to jail and going back to the batcave, where the old Robin costume looms judgementally, highlighting her failure. It would be the most fitting end given their character molds, all tragedy and conviction and unstoppable force meets immovable object etc.

However... I think the option I prefer would be a little different. Cass levelling with Jason, a killer talking to a murder victim. She has no right to stop Jason from getting justice, she has no love for the Joker but she knows any death she allows to happen like this would devastate her, just like that death row inmate long ago she tried to break out but ended up letting go once the family of the victim talked to her and demanded justice. I think... In this specific situation, she'd just be honest. Morally she has no right sure. Personally she just really really doesn't want anyone to die. Give her one chance, please. Let her try it her way. Not demanding, not lecturing or insisting, just... Please. Don't do this. Let me try another way.

And then what? Jason asks.

In the end a deal is struck. Cass will take the Joker and lock him up, ensuring he never harms anyone again while also trying to rehabilitate him. But the second she fails and he gets free, Jason kills him and she won't stand in his way. It's the kind of deal that leaves both of them mildly disgusted and dissatisfied with themselves, neither of them naturally creatures of compromise when it comes to this specific topic. But Cass is willing to do anything to avoid death and Jason did not expect the new Bat to be so... Flexible? Kind of? Of course maybe she won't actually hold up her end of the deal and when the Joker gets loose she'll try and stop Jason from killing him and he'll get his miserable vindication, but right now this is something strange and new and he's mildly confused and curious about where it will go. He doesn't believe in her ability to contain the Joker forever but he's willing to let her try because her reaction to that future failure interests him. She's given him a sword of damocles to hang above her head and he didn't ask for it or expect it. It's the type of power he never thought the Bat would just... Hand to him.

The conflict ends with neither of them fully winning or losing. They both don't really know what to feel about this.

The thing is, the second Cass let's Jason kill the Joker she's hanging up the mantle. She's staking the Bat on this, because it's always go big or go home with her when it comes to saving others, even someone like the Joker. In this magical universe where I have unlimited power, Cass would lock the Joker in a secret bunker and have Leslie Thompkins talk to him daily, mostly because I think her pacifism speeches and debates in the comics would make a fun contrast to the Joker's evil sadism. (But what about his rights? Doesn't he deserve a trial and to be held in a regular prison? I'm going to be honest I think Cass would be very comfortable bending the rules on this specific situation. Morally questionable but I'd have fun with it. She's going to let Leslie treat Joker like her personal pet project to save his soul because yes she wants him to change but also she's got a city to save every night so go crazy Leslie, have fun.)

And the Batman series would continue with Cass as the lead, new challenges and new antagonists and every twenty issues or so for the first hundred we'll cut back to the Joker briefly if his chats with Leslie can help highlight some thematic element of the current arc. But bit by bit he'd slowly fade away onto oblivion, maybe getting referenced every hundred issues or so until eventually no one remembers or cares about him because there's so much else going on. Meanwhile Jason's got a good thing going as Red Hood, primarily based in Park Row and a tentative ally on the occasion when their vigilante work aligns. Unlike Joker he's a much more frequent character in the comics, and after say 10 years (this is my magical fantasy universe Cass's batman run is going to last for a very long time alright) when people think of DC characters they think of Red Hood long before they think of the Joker.

Is any of this realistic? Right now of course not. It's why I'd go with the pyrrhic victory if I actually got the chance, because it would be the best way to tell the story in the larger context of the Bat narrative. But it's my fantasy DC editor and writer daydream and I'm going to dream big. They're never going to be normal happy siblings, their personal demons will never fully let them be free and the looming possibility of losing everything they currently have narrative wise if Bruce comes back as Batman will always be there. But it's maybe the closest to peace they'll ever get. Unsatisfying and tame compromise that probably violates several laws and ethical codes but whatever. Cass has never read the Geneva convention and Jason's not going to shed tears over the Joker. Let him die relevancy wise if not physically.

[blueteller]

Introducing Character Trope: STEBS (Stoic Traumatized Epic Bastard Softie)

I have tried to look this up on TV tropes, but it does not exist. Not officially, at least. So I decided – I'm introducing new trope. It already exist, someone might as well try and give it a name.

And yeah, this acronym SUCKS, feel free to come up with a better one! But let's talk about what a "STEBS" character is for me, because I've come to the conclusion that it is actually my favorite character type.

First, context. Ever since I've read TCF, I have come across other medias and I was often like, "Hey, this character is basically just like Cale!" – which I feel like, it isn't really fair? I mean, Cale is a great and complex character, but making this comparison constantly makes me feel like I'm undermining the complexity of OTHER characters. Just because Cale shares similarities with other characters doesn't make them copies of him.

So, what exactly is a STEBS?

1) Stoic

This character has a very specific way of acting in non-confrontational situations. It can be respectful, it can be casual, but it is neither extremely friendly nor extremely rude. It's in a calm, pleasant zone, where the character treats others like... well, people. The character doesn't make themselves superior nor inferior, it doesn't matter to them if the other is a beggar or a king. They just are, calm and casual. That's what makes them stoic - NOT lack of expressions or emotions, or lack of humor. It's the way they carry themselves on the regular. This character type makes others feel relaxed because of it, and subconsciously encourages trust and friendship (much to the character's confusion). They will also make a great educator because of it, and will likely act as a mentor or a teacher more than once.

2) Traumatized

Despite the stoicism in their behavior, they actually have a complicated background. Commonly an orphan, even though not always, this person has been through a LOT. But, they don't usually express it. Seeing this character cry or break down is EXTREMELY rare and always a very important scene in a story. It's not that they're not emotional or they always try to bury their trauma, although that does usually apply to them; they're just not vocal about it due to their personality. But oh boy, are they traumatized! Wait for that reveal later in the story though, when it actually becomes plot-relevant.

3) Epic

Despite the character being a stoic type, with a backstory that makes them crave very simple things – be it retirement, respect from their peers, a safe house to live in, a stable job, a family, a specific successful career – they are actually freaking epic where it comes to things they do. They either have great knowledge, memory, or skills in a particular field and they always manage to surprise others with just how competent they are. It can be literal combat skills, magic, being a life-saving surgeon, or even a therapist. But whenever they get their chance to shine, they become a real star.

4) Bastard

A trait that adds a surprising amount of charm and humor to their other traits. Being stoic makes them likeable, being traumatized makes them sympathetic, being epic makes them cool – but being a bastard? It actually just means they're mischievous and have a penchant for chaos. Because this character is meant to make changes in the narrative, like an accidental revolutionary or a transmigrator, they have to possess a cunning streak that might seem mean or selfish at first, but actually never crosses the line into making them despicable. It just makes them an occasional manipulator, but it's usually portrayed in a way that still makes it impossible to make you hate them. In fact, it makes you love them more for it. They are not naive, even if they can be oblivious or silly at times; being a bastard to those who deserve it means being able to get out of sticky situations that would be problematic for paragon heroes. It includes stuff like acting, pranks, cheating, manipulation, shady deals, gambling, stealing, and even criminal behavior, that is actually very understandable due to their specific circumstances.

5) Softie

And if all the previous traits haven't convinced you to love this character yet, the last one surely will. This character, despite having a mean streak, is in fact never mean to innocent people. Actually, they are surprising soft and/or sentimental, especially towards the helpless and children. This character will probably have at least one animal sidekick, at least one paragon protagonist type on their payroll, and most importantly an adopted child - if the previous two don't already fill that spot. This character will make excuses of course, they will claim that they are taking care of others for their own benefits. But you will see quickly that they don't treat others like a heartless manipulator, but more of an overprotective mother-hen. This character, no matter their gender, will eventually become the typical Mom Friend. They will make sure everybody eats well, sleeps well, they get their allowance, pack their lunch before heading out to participate in the plot and probably try to sacrifice themselves for them more than once. They will of course become the mentor figure on top of it, and possibly even be a straight up legal guardian and/or teacher to other important characters.

And this, my friends, is what I call a STEBS character. While it outlines a general, it's not a strict definition, mind you. Even if a character exhibit one trait less than the others (for example not being much of a bastard, or not being very stoic), it still counts as long as you still recognize them as fitting in this "category".

Characters in this category include:

Cale Henituse from Trash of the Count's Family

Obi-Wan Kenobi from Star Wars

Aizawa Shota from My Hero Academia

Kakashi from Naruto

Remus Lupin from Harry Potter

Faramir from Lord of the Rings

Kim Dokja from Omniscient Reader's Viewpoint

Rimuru Tempest from That Time I Got Reincarnated as a Slime

Park Moondae from Debut or Die

Won Hwabu from I Reincarnated as a Legendary Surgeon

And many, many others.

Let me know if you have a better name for this very specific character type!

[whetstonefires]

Honestly the most interesting thing about the Jiang interpersonal dynamics that is being totally slept on is how Jiang Fengmian's power as head of the family affects everyone, including him.

Yu Ziyuan knows Jiang Fengmian won't use his power against her unless he feels like he needs to, and that he doesn't fear her and isn't going to feel like he needs to act in self-defense unless she attempts significant physical harm, so short of that she can do whatever she likes against him, and he won't resist.

But if the collateral damage to the kids of her verbal attacks on him goes above a certain level, he says one word and she stops.

He just goes, 'wife.' ('My lady' but it's just a polite term for wife.) Sort of disapproving. Same kind of way he talks to Jiang Cheng when he acts like a shithead, but without the subsequent attempt at an ethics lesson.

And bam. Momentum halted. That line of attack is out of bounds. Nobody likes this, but good god it works.

And because they both know he ultimately has all the power, that Yu Ziyuan's lifestyle of privacy and doing exactly as she pleases at all times and so forth is all something that exists by Jiang Fengmian's generosity and sufferance, and she hates it, and he's not comfortable with it either, he sets that boundary really high, and she gets away with all kinds of cruelty because it's all stuff she's strictly allowed to do, entitled to do. So he'd be abusing his authority over her, by constraining her right to exercise her power within normative bounds over the people she outranks.

Even if she's using it harmfully and in a way directed by spite, these are her rights, she's not technically abusing her power, and her primary target in all the episodes he actually witnesses is him who outranks her; she's not being one of those mistresses.

So he'd be overstepping if he tried to constrain her, he'd be one of those husbands. Just like she always accuses him of.

(This is why she keeps insisting that she's also the master of jiang sect and he's 'forgetting' that in contexts where it doesn't make a huge amount of sense.)

Anyway, the fact that it's impossible to unpick where Jiang Fengmian's moral principles stop and his conflict-avoidance kicks in with this relationship is so much more interesting than the weirdly sexist readings I keep seeing, where it's all the conflict-avoidance and he's an unmanly loser who lets Yu Ziyuan bully him and his kids without ever standing up to her, for no good reason. When actually they have a really interesting and fantastically realistic toxic relationship.

He has a good reason! His reason is he's uncomfortable with the patriarchy! And guilty that his wife is miserable! And that he doesn't love her correctly! So he gives way as often as he can, trying to fix it!

But it doesn't fix it, because no amount of giving in to her gives her cause to trust him, and if she doesn't trust him and she knows that if he actually cares about an issue her ability to get her way will disappear, she can't feel secure about any of it. And therefore everything, especially Wei Wuxian the symbol of that fact, makes her angry and Want To Punish.

[leverage-ot3]

the inside job is so real bc nate and eliot meet archie and they are on the absolute same page that it is on SIGHT with him

literally the only reason he didn’t end up with like broken knees in a damp, dark back alley somewhere is because they know that despite parker’s messed up relationship with him, it would make her sad

parker being sad is not allowed if they can help it

so instead, when parker is off doing her occasional solo heist for fun, the rest of the team plots his demise if he ever hurts parker again

💖 love is stored in planning bodily harm of those that hurt the people you love 💖

(post inspired by someone reblogging my parker-archie fucked up relationship post)

[killugon-truther]

someone compared the needle illumi drilled into killua’s head to being forcefully medicated, and i stg that literally opened my eyes bc i didn’t even think abt that.

it makes perfect sense; the way he begins to experience and feel his emotions to a deeper extent (both the good and the bad) after removing the needle, the way tsubone said (and i’m paraphrasing here bc i can’t remember exactly what she said) that when he was under his family’s control, life was “easier” for him…

illumi’s needle is probably one of the best representations of abuse i’ve ever witnessed in media bc it manages to be so realistic and tragic, despite being so encapsulated in fiction.

[tare-anime]

A classic marriage "mistake" has been done by the perfect Twilight.

Yor has been so insecure of "the usefullness" of herself for a loooonnggg time

Twilight has to boost her confidence from time to time. Via words of affirmations.

That is good.

However, the ever capable Twilight also does everything by himself

Of course he does all of this with good intentions. He doesn't want Yor to be tired. He wants to give her the best of everything.

And that is the mistake.

When one does everything by oneself, it will make the other person feels that they are uneeded. Being a couple especially so.

So that's why this is a major growth, that Twilight finally finally asking for Yor's help.

And that's makes her happy. Because she is now needed.

Being vulnerable in front of your spoused IS a good thing, Twilight.

I hope now you realize that 🥰🥰

[quinn-pop]

sailor has a habit of venting to meta knight about stuff

[lesbianscxlly]

if you think sam winchester was the most queer coded character in spn don’t even mutual me at this point just kiss me right on the mouth

[zeroducks-2]

When I see Jason and Bruce acting like the stereotypical "prodigal son and gruff but loving father" (in canon!) my blood boils.

Jason died. Bruce did not avenge him, not even "playing by the rules", so not even by arresting the Joker. He didn't do JACK SHIT after his boy was murdered. And once Jason came back, Bruce slit his throat in order to save the life of the man who murdered him, and then left him to die in a burning building.

They should be unable to coexist in the same room let alone speak let alone have a "difficult but ultimately loving relationship". I hate you DC I HATE YOU I HATE YOU I HATE

[casscainmainly]

HAPPY BIRTHDAY CASSANDRA CAIN!!!!!!!

For Cass' birthday, I'm gonna do a little dive into Cass and gift-giving! Not a super formal meta but just going through some significant moments where gifts are involved.

Cass' very first appearance in Batman #567 is a gift - she gives an apple to Barbara. The association with teachers and apples is of course apt, but it's also significant that Cass gives a gift for the first time. Gifts represent relationships, agency (choosing to give someone something), and ownership. In a way, gifts are the very opposite of her upbringing!

Then, in Azrael: Agent of the Bat #61, Babs explains gifts to both Cass and Azrael. I really like this set-up because, with Jean-Paul there, Cass is not made to feel like she's the only one who doesn't know. Here Babs leans into the relational aspects of gifts: "when you get a gift, or give one, you feel valued and... not alone."

In Batgirl #33, we really see that 'not alone' aspect. After a disastrous encounter with David Cain (where we learn Cass' birthday!!), Cass returns to her base dejected and sad. Then Bruce shows up and gives her a gift, and it cheers her up. We don't know what the gift is - the giving is what's important, showing how much Bruce cares for Cass (this is also, if I recall correctly, the first time we really see the word 'father' in association with Bruce).

Only four issues after Bruce gives her a gift, it's David Cain's turn; he gifts her a knife that he gave her before as a child. #37 is a heartwrenching issue, diving into Cass' relationship with Cain. In the end, she decides to destroy it, symbolising her desire to break off connection with him. In light of her acceptance of Bruce's gift, it's clear that gifts are incredibly important symbols of her relationships to people.

Skipping way ahead to Urban Legends #10, Cass gets Dick for Secret Santa and helps him out of a jam as a gift! I love how Dick is super grateful here, and I think it makes complete sense for Cass to do service-oriented gifts rather than purchasing something. Gift-giving will always be super special for Cass, but now she's getting used to casual, lower-stakes gifts, showing just how far she's come from her first introduction!!

But of course the major gift of her life is, and will always be, Batgirl. In Legends of the Dark Knight #120, it's the first gift she received from someone who isn't David Cain, and getting to wear that symbol - a symbol, to her, of compassion and redemption - is a step in overcoming her guilt and self-hatred. The fact it's presented as a gift (in a box) is also really important. "When you get a gift[...] you feel valued and... not alone." After years and years of wandering, Cass is finally gifted a home.

So happy birthday to Cassandra Cain, and may you get all the best gifts in the world!!!!! Here's to 2025 holding a lot more wonderful Cass things in store for us!!!

[literary-shitstorm]

Just some thoughts I've been having about Jason and his ethics/motivations recently, because I'm back on that Jason Todd grind.

Jason's view on killing is one of 'calculated sacrifice', he believes that Bruce's methods are more than capable of stopping crime as it happens, but Jason wants to prevent it.

If killing five criminals means that Jason can spare a hundred lives and scare all of the others out of hurting innocents, that is a worthy sacrifice. He doesn't kill aimlessly or for pleasure, it is a measured act against the few to save the masses. Jason is judge, jury and executioner, Bruce's morals prevent him from acting beyond the first two - this is where him and Jason disagree.

If crime is a wheel that keeps on spinning, Bruce believes that the wheel is inherently wrong and should be stopped. Jason knows that the wheel is never going to stop spinning, and that it is better to control it than waste time trying to stop it all together. Where Bruce sees Jason's forcefulness as an unnecessary evil, Jason understands that the Batman symbol is needed - the world relies on people who can draw their moral lines in the sand and stick to them - but it also needs people like him.

It's easy to see how Jason's views have manifested. He spent his entire life being a victim of those trying to stop rather than prevent.

Catherine Todd dealt with drug addiction which ultimately rendered her dead and unable to care for her son - she may have tried to stop her addiction, but never managed to prevent it in the first place.

Willis Todd chose his criminal lifestyle over raising his son no matter how much Jason wanted him to stop - he didn't do what it took to prevent his son being left alone to fend for himself.

Bruce saw Jason's rage and fury as Robin and chose to try and stop it through arguments and discipline - at the time, he couldn't understand Jason's anger and as a result could not prevent it.

Bruce knew how dangerous the Joker was and dedicated an entire lifetime to stopping him - had he taken action to prevent the Joker's crimes, Jason wouldn't have had to die.

Bruce watches as his son comes back to life, a broken, angry shell and tries to stop him - he could never bring himself to prevent what happened from happening again, no matter how much he wanted to.

This is why the Redhood kills. Jason understands that it is not enough to simply stop crime. Something has to be moving to stop - as soon as Batman steps in there are already victims. Jason has been a victim - it's not a fate he intends to suffer again, and he would fight tooth and nail to protect those too vulnerable to prevent their own suffering.

[ferrouswheel11]

The original batkid age differences still work in the current comic era, and I'm gonna keep assuming they're canon unless they tell me otherwise. (sequel to this post)

Damian is canonically 14 (as of 2021).

This makes Tim about 21, which fits with his recent 'college dropout who lives alone on a houseboat' character arc (also 2021). A comic in 2015 said Tim was 16 when Damian was at least 10, but since it's a minor difference I'm gonna stick with the ~7 year gap they had pre-n52.

So Jason must be 23 — as far as I know, no canon contradicts this.

And Dick is about 29. This causes some minor issues, actually — in 2014 he was supposedly 21 when he should have been about 24, and in 2018 he's described as 'mid-20s,' which could be a stretch depending on how much in-universe time passed between 2018 and 2021. Overall though, not too messy.

So that makes Cass 24, Steph 21-22, and Babs around 30.

Honestly I have no idea how old Duke is beyond 'high school age" — from at least 2015 to present. Which actually kinda screws things up, if we assume that all the other characters aged 4 years in that time. Like, in 2015 he was closer to Tim's age, and now he seems to be closer to Damian's. For what it's worth tho, I think of him as ~17.

Anyway, point is DC DOES let their characters age (at least since the Rebirth era started in 2016. pretty sure n52 was like, a stasis bubble or something). I'm sure the timeline will continue to get wonkier as the youngest generation of heroes grows up, but for now the Bats seem to be doing alright.

[blueteller]

Do you know how smart Cale actually is? Like- what extent his intelligence can reach?

That's an interesting question! Let's take a look.

From what I know of IQ scores, anything above 120 puts you in top 10% of the population. So I easily see Kim Rok Soo!Cale belonging in that category; of >120 IQ. However, IQ had always felt a little vague to me. It's nice to have a number to put on a scale and all, but what does it actually mean in reality? Let's try this from a different angle.

Gardner's Multiple Intelligences model of divides talent into eight categories, plus one additional one:

Visual-spatial

Linguistic-verbal

Logical-mathematical

Body-kinesthetic

Musical

Interpersonal

Intrapersonal

Naturalistic

Existential

Why not try to measure him up against each one, as no person is actually intelligent in every way and not even a fictional character can excel in all of them (unless they're a Mary Sue or something lol).

Visual and spatial judgment stands for easy reading, writing, puzzles solving, recognizing patterns and analyzing charts well. I think Cale is definitely a pro in this category; he does loves reading and he's fantastic at analyzing data.

Linguistic-verbal is for remember written and spoken information, debates, giving persuasive speeches, ability to explain things and skilled at verbal humor. And while I constantly make fun of Cale for not being able to explain himself, he IS good at using the "glib tongue" and being persuasive, so I think he is very skilled in this category as well.

Logical-mathematical means having excellent problem-solving skills, the ability to come up with abstract ideas and conduct scientific experiments, as well as computing complex issues. Cale is an incredible strategist able to change his plans in an instant, so he is definitely a genius in this field.

Bodily-Kinesthetic Intelligence is a fun one, because I think it's the hardest one to judge, considering that he literally changed bodies. It of course stands for sports, dancing, craftmanship, physical coordination, and remembering better by practice rather than learning theory. Cale... does not like that. However, it doesn't mean he's BAD at it. If he was a genius in this field, however, I believe he would like it a bit more. Thus – I suspect he was average. In the past he was forced to exercise for the sake of survival, but once he was given the option of taking it easy, he quit instantly. He is capable, but does not have any particular predisposition for it.

Musical Intelligence drives me nuts, because we literally do not know, and I dearly wish I did. There was not a single mention of it in the whole series. As much as I want to believe in a cool headcanon of KRS being an unrealized musical genius... I think he was probably average or below average in this.

Interpersonal Intelligence stands for communication, conflict-solving, perception and the ability to forge connections with others. And while you might have some doubts about Cale, I say he IS a total pro in this. Those are all leadership skills, and Cale is one HELL of a great leader.

However...

Intrapersonal Intelligence is where Cale is severely lacking. It could be partially due to trauma, but I think at least some of it comes through his natural personality. It stands for introspection, self-reflection, the ability to understand one's motivation and general self-awareness; and that is Cale's biggest weakness, one that might actually cost him his slacker life dream in the end, due to all the misunderstandings he causes.

The last two, Naturalistic and Existential Intelligence types, are also not really Cale's forte. The first is for things like botany, biology, and zoology, paired with enjoyment of camping and hiking – none of which Cale actually does for pleasure, only because he has to. And yeah, farming is in that category too, but it's not like Cale is actually a real farmer just yet. And the second is for stuff like philosophy, considering how current actions influence future outcomes, the ability to see situations from an outside perspective and reflections into the meaning of life and death – and Cale is REALLY not interested in this type of self reflection.

Which leaves Cale with 4 types of intelligence he excels at, 2 which he is REALLY BAD at, 1 where he's below average and 1 he's probably average, with 1 left completely unknown.

Does this make Cale a genius? Pretty much, yes. Does it also make him stupid in very specific ways? VERY MUCH, YES.

[sailing-ever-west]

The Vinsmoke men are misogynistic and it's so narratively important even though it's mostly subtext and never outright stated. None of them ever say anything against women specifically, and they don't seem to discriminate as far as who can be warriors, but their actions reek of it nonetheless and I can't stop thinking about it.

On the surface it seems like Sanji gives thought to treating women differently and the Vinsmokes don't, but it's clear through their actions that the only "equality" they're really upholding is that no gender is exempt from abuse and exploitation.

It's like when people say "well if you want equality, women should get drafted into the military too!" When the problem is that no one should be forced to join the military. That's basically exactly what Germa is doing.

Sanji's view of women is frequently flawed and a bit myopic, but he seeks to treat them with kindness and love and respect, whereas the Vinsmokes make no attempt at philosophy about women and just treat them horribly.

The most glaring example is probably Cosette, who they berated for making food they didn't like and then proceeded to beat unconscious solely to shatter her confidence and upset Sanji. And when Sanji is understandably enraged at their horrible abuse, they assume the reason is that he was physically attracted to her and didn't want the object of his attraction damaged (saying they didn't know he Liked her, and if the busted up face wasn't a dealbreaker they could make her Sanji's personal attendant, which also reaaally sounds like code for something else).

Another aspect is that despite having no emotions, the Vinsmoke brothers still seem to experience attraction to women. But it's not love in any sense of the word, just purely physical. They find Nami attractive, even wanting to arrange to keep her around when the Strawhats are captured by Big Mom (ew), and there's that scene of them and Judge in their private room surrounded by mostly drunken unconscious (and rather scantily dressed if I remember correctly) barmaids that were sent to them. Granted, nothing Happens in that scene, but the undertones are gross and we're only shown a small portion of the night. Whatever the case, it's clear that these women were not sent in to be equal, respectable company, but an objectified distraction to pair with alcohol, and were treated as such.

And then there are the internal family dynamics, which I think are the biggest and most important part.

To start, there's Reiju. On the surface she seems like she has the same status as her brothers, a modified Germa weapon capable of performing as her father wants. But whenever Judge talks about being proud of his children, he always emphasizes the triplets. Often he doesn't even mention Reiju, and his attention to the boys' training seems to be much closer than to hers. Her raid suit is also more sexualized, as though that's expected to be part of her arsenal. And of course, there's her name meaning "zero" while the boys are all numbered. She is the eldest, but she survives by being ignored, and it's clear that her father prefers her emotionless brothers. This feels symbolic as well since being emotional is often seen as a feminine trait, portrayed as a weakness. Judge hates weakness. And so he hates emotion, hates women.

But at the root of it all, really, is Sora. Sora who's choices and body and children were stolen from her for an abusive man's ideals about war and domination. We don't really get to know how much choice she had in her marriage, but given Judge's royal status and the fact that they obviously share zero values I think it would have to be a strategic political arrangement at best, and something she got no say in at worst.

The kids are all named in a numbering system, which also reeks of Judge not letting her into the decisions. And, of course, there is the absolutely horrific experience of being forced into prenatal surgery to genetically modify her children against her will, to the point that the only way she could exercise any agency was to poison herself in an attempt to save even one of them. She was literally just a baby-producing machine to Judge and it couldn't be more blatant.

The violent, self-centered, and misogynistic Vinsmoke brothers are born directly from a woman's choice being taken away from her. Kind, selfless, and loving Sanji is born directly from her one act of defiance, and then later saved by his sister's one act of defiance as well (after which, she was programmed to be obedient).

Basically, the Vinsmoke family is built and preserved on the abuse and exploitation of women, and Sanji is the black sheep for many reasons, but I suspect a rather large one is that he's the ultimate antithesis to that.

[rmbunnie]

Something kinda tasteless about the way that alongside the concerns of "Batman needs someone to rein in his aggression/edginess" (mostly a meta concern,) "Robin is a symbol of undying hope right alongside Batman, Superman, and the police system," and "now that the thought's crossed my mind I think being Robin would be pretty sweet actually," one of Tim's points for why he should be Robin at the end of A Lonely Place of Dying is "we need to show the criminals of Gotham that they can't just kill Robin and expect to get away with it!" Because. They can. That's exactly what happened.

Using that line of reasoning, Tim makes the claim that the idea of Jaybin's life as disposable and inconsequential is heinous and bad, his killing something impermissible, but instead of disproving said idea they allow it to become true and devote their energy to making sure it doesn't become widely known as such. By covering his death up, they actually are permitting his murder to go unaddressed and deeming it acceptable, even taking away the opportunity for it to be consequential to anyone outside of Bruce's inner circle by not spreading the news. As much as we say "oh Bruce was a great dad because losing Jason crushed him" and "he almost considered trying to kill the Joker one time," he in all tangible areas did not do anything about Jason's death. Setting aside the question of killing the Joker or not, it's still shown in Batman Year 3 that Bruce's reaction to Jason's death in the time til Tim showed up was to hide away everything Jason owned and carry on with business as usual, a little angrier. Bruce didn't make any changes or actually evaluate anything in a significant way after the warehouse and Jason's death didn't warrant any tangible consequence, that's evident from reading the comic. I know some may disagree, and I acknowledge the room for interpretation, but in order to discuss Tim's reason we have to concede that it is explicitly written into this specific comic as something Bruce and Tim both recognize as fact, because it serves as the foundation that this reason is built on: there is good reason for the criminals to believe there would no punishment for killing Robin based on the actions Bruce did or didn't take in response. The concern about the public realizing there are no consequences for killing Robin wouldn't be reasonable if it wasn't true, if there actually were.

While they recognize that Jason's death came to pass largely without consequence, the fact itself is less of an issue to both Bruce and Tim than letting criminals actually find out that it doesn't have consequence. They know it's unjust, the notion that Jason can be killed without repercussion (and in making an effort to minimize his murder confirm it to be true,) but their concern isn't for what actually happened to Jason or the lack of proper response. At least on the vigilante side of things, the problem is public perception and continuing to uphold an image of Batman as just and diligent while permitting him to ignore injustice against those close to him. There's no efforts taken to actually disprove the idea that killing Robin would lack impact, what Tim proposes is just making it harder to prove right.

I think the best way to word what comes across tasteless for me here (aside from the side commentary on the unstoppable might of the institution of police and how it's an exemplar of heroism) is that beyond Tim's victim-blaming of Jason during his stint as Robin, (discussed in more depth by people who can word it better than me,) in the base text of a Lonely Place of Dying, it is foundational to the initial premise of Tim as Robin that part of his motive for being Robin hinges on accepting what happened to Jason as something that cannot be allowed in their pursuit of justice or go unaddressed for reasons completely unrelated to the actual harm, and then intentionally erasing the event and the way in which it was allowed and did go unaddressed. No matter how much it's claimed in later comics that Bruce was faultless and Jason doomed himself, Tim's Robin came to be at least in part (in-universe) as a cover-up for the lack of action taken about Jason's death, and by extension as an effort to overwrite his time as Robin and an individual entirely. And thought it wasn't the way his character viewed it, Tim wasn't passively complicit in it or going along with a poor grieving man, the intentional and deliberate erasure of Jason as a murder victim and the injustice of his posthumous treatment was part of his opening pitch.