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too-much-tma-stuff · 6 months

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Finally Getting Help (prt 11)

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When Jason arrived at the manor to meet Danny it wasn’t him who greeted him but Damian. Jason tensed as he always did when he saw Damian, though now the feeling he got when he saw Damian made more sense to him. He had read the slide show, he knew that the urge to fight Damian wasn’t hatred, and neither was the way Damian lashed out at him… at least probably not. They should spar more, but not right now, he still needed to overcome the urge to fight Damian in the lobby.

“Todd,” Damian greeted.

“Demon-Brat,” Jason said, insults were practically his love language now anyway.

Damian sniffed disdainfully, but he was shifting from foot to foot. He had something to say and was struggling to figure out how. Jason crossed his arms and dutifully waited for Damian to spit it out. “Danny has warned me about the role that combat has in courtship for his kind, I do not know why on earth he would want you to court him But that is his decision. I will not interfere but understand that he is vulnerable and he is protected. If you hurt him in any way there will be consequences.”

“I’m not planning to hurt him, but I also don’t even know if we are ‘courting’ yet,” Jason said rolling his eyes.

“Well then you’re even more of a fool then I thought,” Damian said with a disdainful sniff. “He’s a very powerful being, Zatana says that he will likely grow to be a god, you should be grateful he is willing to let you court him.”

Jason blinked rapidly, he hadn’t been here for that conversation so that was the first he was hearing of that! It also occurred to him that Damian had a baby-crush on Danny and considered teasing him about it but decided not to. “Huh, good to know,” He said, simply reaching out to ruffle Damian’s hair and missing on purpose as he dodged away. “So where is Danny?”

“He’s waiting for you in the dojo upstairs,” Damian said, sounding a little resigned as he gestured upwards. “I hope you made reservations for somewhere worthy.”

“Don’t worry Dami,” Jason snorted, brushing past him to head towards the stairs. “I’ve got it under control.”

Once again as soon as he entered the dojo and saw Danny the violent urges surged but he wasn’t alone and he didn’t swing first. Danny came at him first and Jason rose to meet him. The fight was longer but less desperate this time. It felt like they were getting out their energy and anger without meaning it, and by the end Jason and Danny were both breathing hard and purring again. It really did feel like bonding, they were closer now then they had been at the beginning of the fight, even if they had hardly said a word.

It ended in a stalemate, or, Jason got Danny pinned but it couldn’t have been more obvious that Danny let him. Jason was glad they didn’t have an audience this time so later he could deny that made him blush. Danny gave him a cheeky grin and reached up to pull Jason down, slow enough that Jason was able to scramble away before Danny got hold of him.

He coughed to clear his throat awkwardly, grabbing one of the towels that sat on a shelf on one side of the dojo, using it to wipe his face and the back of his neck. The fight had been intense enough to make him sweat, though Danny still seemed unbothered, and there were some gym style showers off of the dojo.

“Well I’m glad I brought a change of clothes!I’m going to have a quick shower and then we can go out for dinner okay?”

“Sounds good, I’ll go change too. Alfred bought me a Ton of new clothes, I really didn’t need that much more. By the way, what sort of place are we going? I mean, should I dress up?” Danny asked a little awkwardly, Running a hand back through his hair to try and push his bangs back.

“I mean, probably a little bit?” Jason said. “If I didn’t take you somewhere nice I think Damian would shank me. It’s cute how protective of you he is,” Jason teased.

“Alright, so we talking jeans and a button down? Or proper dress pants?” Danny asked, cocking his head to the side.

“Better to go with dress pants. The good ones are pretty comfortable anyway, and Alfred wouldn’t get you bad one. No need for a jacket though, unless you’ll be cold?”

“I have an ice core, I never get cold,” Danny laughed. Jason was just going to pretend he understood what that meant.

“Alright,” Danny agreed, bouncing to his feet in a way that denied gravity and bouncing out of the room to go get changed.

Jason grinned like an idiot after him before shaking off the feeling and going to have a quick shower and get dressed for their date.

Jason showered and dressed in a red shirt and soft brown pants before meeting up with Danny who was wearing a blue that brought out his eyes and black pants, he looked… very good. Judging by the blush on Danny’s cheeks he thought the same thing about Jason.

“Have you ridden on a motorbike before?” Jason asked rather than acknowledging any of that.

“Oh! Ya I have, not that often but I know the basics,” Danny assured, following Jason eagerly towards the door.

“Great, I have an extra helmet for you.”

“Do I have to?” Danny sighed dramatically. “It wouldn’t kill me anyway if I fell off.”

“Yes you have to,” Jason said firmly, his stomach twisting at the idea of Danny getting hurt. “You have to be more careful Danny! I get that we’re all bad about risk taking, and you’re tough, but you don’t have just yourself to worry about anymore!” Jason said, trying not to sound too much like he was scolding Danny. He wasn’t sure it worked because Danny did look pretty chided as he took the helmet.

“The babies aren’t in my head, the helmet wouldn’t protect them,” He muttered as he put it on. Jason just hummed and rolled his eyes as he put his own on.

Danny got on the bike behind him and wrapped his arms around Jason’s waist, snuggling up against his back even as continued to sulk. “Hold on tight, and the helmets have mics so we can still talk without having to yell. It’s a bit of a drive,” Jason warned. He could have gotten there a lot faster, but not without breaking traffic laws and he was in civvies so a half hour drive it had to be.

Danny hummed and tightened his grip on Jason as he kicked back the stand and revved the bike, peeling out of the driveway in a way he knew would piss off Bruce. It also made Danny yelp and cling tighter though so Jason slowed down a bit once they were out of the driveway.

Danny was quiet for maybe ten minutes and Jason was starting to worry he’d upset Danny more then he realized and maybe should apologize when he spoke up. “You’re right. When Cass clocked that I was pregnant it was the first time I’d talked to anyone about it besides Vlad. I’m not… Honestly the way I’ve survived most of the shit that’s happened to me was not thinking about the implications. I’m not sure how I’m going to do this. I’m in a way better position now then I was even a week ago but it’s going to be such a big change I’m having a hard time imagining what it's even going to look like.”

Jason hummed, nodding and taking a moment to consider his response. His first instinct was to remind Danny that he didn’t Have to have the babies since it was still early but he knew that the other bats would have already brought it up. If Danny was anything other than fiercely protective and utterly determined to have the babies Bruce and Dick would still be trying to convince him to not be a teen parent and focus on his education. The same way they had tried to convince everyone in the family not to be vigilantes and utterly failed.

“You’re going to be a good dad Danny, and you’re not going to do this alone. Bruce never got to have any of us as babies, the youngest of us was 12 when he adopted us and I know he’s looking forward to having a baby around. Alfred is too, and Damian and Dick will compete for best uncle. Money is no object, you’ll get everything you and the babies need. It’s still going to be a big change obviously but there’s nothing to be scared of I promise,” Could he make that promise really? Well he just did so he’d better do his best to make sure it was kept.

“It’s not just that though,” Danny said and hesitated again. Jason stayed quiet to let him organize his thoughts. “My binder is hurting more to wear, my.. Chest aches, I told Bruce I was just incubating ghost cores. And that’s what I’ve been telling Myself too, but I got sick this morning and the babies are clones of me, and I’m half human. What if I actually am pregnant?

“I told Jazz I’d bring up going to a human doctor but then dodged it. I haven’t been in years and I am nervous about going again but it’s more than that. I don’t like my body, I’m too young for hormones or surgery but if my body changes. What if my chest hurts too much and I can’t wear my binder anymore? What if they grow more? They’ve always been small enough to hide before.

“I don’t mind the idea of my stomach growing, or even really being a mom. I’m a man but I do feel like I identify more with maternity than paternity. It’s really just my.. Breasts. God I hate that word. I don’t want them to grow, I don’t want to lactate or breastfeed. I mean, I DO, I actually really do but just the idea is giving my dysphoria at the same time that I really want to do it to bond with the babies.” It was like a dam had broken and Danny’s words came fast and a little loud, breathing hard between bouts of talking.

“Deep breaths please Danny, take a few deep breaths,” Jason soothed, taking one hand off the handlebars briefly to pat Danny’s hands where they were clasped over his stomach. He was a bit at a loss about this, none of his siblings were trans, he knew trans people but he’d never had to talk anyone through these particular problems. “These are a lot of what ifs to be panicking about. It’s totally your choice, the babies can be bottle fed if the time comes and you’re not up to it. There’s nothing wrong with that. We’ll all be here for you no matter what happens, but you really should go to the doctor Danny. At least then we’ll know what to expect right?”

“Will you come with me to the doctor? I’m a bit scared of human doctors, I’ve heard people talking about experimenting on me so much as Phantom that every time I’m in a lab-like environment now I can’t stop thinking about it,” Danny asked, a pleading edge to his voice.

“Ya, I’ll come with you, and whoever else you want,” Jason promised, because what else could he say? “We’ll make an appointment for you with Dr. Leslie, she sees all of us vigilantes, she sees just about everyone involved in the night life and never Ever talks to the cops or the feds. Trust me no one can get that woman to talk to anyone, she’s safe.”

“Thank you,” Danny murmured, leaning his cheek against Jason’s shoulder. The rest of the ride was a quiet one as Danny recovered and Jason tried not to overthink his lackluster responses.

-----

Jason parked a block away from the restaurant rather than trusting any concierge with his bike and waited for Danny to get off before he did. He took off his helmet and took Danny’s from him and locked them both in the storage compartment on his bike before leading the way, shoving his hands awkwardly in his pockets. He was never the most… socially competent. He was better than Tim but he was worse than Dick and Bruce and in moments like this he wished these things came a little easier to him.

Danny was quiet, his hands swinging loosely by his side as he followed, Jason noted the way he kept looking around them. They all did that, looking for threats civilians might not see, it was how you spotted a hero even when they weren’t trying to be spotted. Still there were no problems between the bike and the restaurant and when they got inside Jason softly asked the host to make sure Danny got one of the menus without prices. He was knew to this lifestyle, Jason remembered the first time he’d gone out to a fancy dinner with Wayne the prices had nearly given him a heart attack and he was younger and less set in his ways then Danny.

He didn’t want Danny to worry about the prices, he’d be paying and he was both the son of a millionaire and a crime lord, he could buy the entire fucking place without blinking. The host nodded understanding and ushered both of them to the most private table in the establishment.

They settled in and ordered drinks, Jason a coke and Danny a signature lemonade before they were left with the menus. Danny gave Jason a suspicious look when he noticed there weren’t any prices but when Jason innocently pretended not to notice Danny huffed and decided not to bring it up.

“Order whatever you want, appetizer and dessert too,” Jason encouraged, putting on his innocent face again when Danny gave him a Look.

“Alright,” Danny agreed with a dramatic sigh, he didn’t need to be pushed too hard though, Alfred had mentioned Danny was almost always hungry, wish was why Jason hadn’t chosen one of the fancy places with ridiculously small portions.

Danny took a while to choose, and asked Jason about a few items and words on the menu. Finally he sighed and put his menu down to indicate he was done. It wasn’t long before the waitress returned to take their order for appetizers and main before vanishing again.

“So,” Danny asked leaning against the table and clasping his hands. “You have questions?”

#danny phantom #Danny is pregnant #trans!danny #jason todd #dead on main #tw dysphoria #damian wayne #dc x dp #finally getting help au #unedited #tell me if you find any mistakes #the date ended up being 2 parts #oops

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graysoncritic · 4 months

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A (Negative) Analysis of Tom Taylor's Nightwing Run - Who is Dick Grayson?

Introduction Who is Dick Grayson? What Went Wrong? Dick's Characterization What Went Wrong? Barbara Gordon What Went Wrong? Bludhaven (Part 1, Part 2) What Went Wrong? Melinda Lin Grayson What Went Wrong? Bea Bennett What Went Wrong? Villains Conclusion Bibliography

When asked to describe Dick Grayson’s character, many will say he is good. He is Bruce Wayne’s light, the person he could have been had someone offered Bruce understanding and guidance after his trauma. Dick is a leader. A big brother. A mentor. He is someone people can look up to, someone others can trust. He is “The Heart of the DCU.”

(Williamson, Joshua, writer. Sampere, Daniel; Herbert, Jack; Camuncoli, Giuseppe; Sandoval, Rafa, illustrators. Dawn of the DCU. Dark Crisis on Infinite Earth no. 7, e-book ed. DC Comics, 2022. pp. 28)

Characters, much like real people, are more than just a trait. Jason Todd is more than “angry.” Bruce Wayne is more than just “brooding.” Tim Drake is more than just “smart.” Characters are multidimensional. They have multiple facets, some of which may contradict one another because characters, just like people, are not created out of mathematical equations where two plus two always equals four. Humans are emotional. Their being is informed by past experiences, biology, culture. The intricate combination of these vastly different factors leads to inconsistency in rationality that may not always be logical. Dick being “good” does not mean that Dick can’t be angry, that he can’t make mistakes, or that he can’t lash out or be unreasonable, especially when stressed. Dick being “good” does not mean he can’t brood, does not mean he can’t be suspicious, nor does it mean he will always like everyone. Dick being “good” does not mean he can’t be his own worst enemy, that he can’t be calculative and strategic, that he always needs to be upbeat, or that he can’t be the most intelligent person in the room.

(Grayson, Devin, writer. Zircher, Patch, illustrator. Slow Burn. Nightwing no 93, e-book ed. DC Comics, 2004. pp. 10-11)

Sam Humphries also demonstrated this during his brilliant story, The Untouchable. There, Dick’s relentless determination to save people from the Judge’s machinations grows so intense that it becomes self-destructive. The story demonstrates how Dick’s “goodness” comes from a form of toxic perfectionism that has been with him since he was a child — a perfectionism born of a low self-worth that eats at him from the inside out

(Humphries, Sam, writer. Janson, Klaus; Campbell, Jamal, illustrators. Ruthless. Nightwing: Rebirth no. 37, e-book ed. DC Comics, 2018. pp. 08)

Even the 2003 animated series Teen Titans understood that in trying to catch the bad guy — almost always Slade Wilson in the case of that show — Dick could sometimes go too far.

Dick’s goodness causes him to see himself as a danger to not just his loved ones, but everyone who stands near him. He carries the world on his shoulders, taking the blame for every tragedy and seeing every death as a personal failure. When pushed to its worst, Dick’s goodness becomes an obsession which pushes others away, leading to isolation as Dick’s entire existence narrows down to accomplishing one specific goal.

It is this reductive characterization of Dick – the idea that his one defining trait is that he is “good” – that leads many to misunderstand the appeal of his character. As I mentioned above, characters are multi-facet, and Dick is no exception. However, the ways in which Dick is multi-facet are very different from the ways in which most characters are multi-facet.

Please do not mistake what I am about to say by claiming these other characters are not complex. Or even that some of them might not subvert popular tropes. What I mean saying is that Dick’s complexity is demonstrated differently than what I believe most people are accustomed to.

For example, everyone knows Bruce Wayne keeps his feelings locked up inside. He compartmentalizes his emotions and his trauma in order to solve the puzzle put ahead of him. But everyone – characters and readers alike – understands Bruce is doing this. Everyone can tell that he is hiding something from others and keeping them at a distance. The reader is always aware of how Bruce’s trauma informs his actions, his interactions, and his thought process.

(Grayson, Devin; Barr, Mike W., writers. Davis, Alan; Robinson, Roger, illustrator. Procedure. Batman: Gotham Knights no. 25, e-book ed. DC Comics, 2002. pp. 20)

Take, for instance, Part One of Murderer/Fugitive. Although a major source of tension from the story surrounds the question of Bruce’s innocence, there’s never any question in the minds of the reader and the character that Bruce is hiding something. Tim Drake questions whether Bruce truly did kill Vesper Child and is hiding his motive, while Dick is certain of Bruce’s innocence and instead believes Bruce is hiding his alibi or the clues that would help them find the real murderer. Barbara Gordon, for her part, wavers between the two, but like Tim, Dick, and the reader, she is certain of one thing: Bruce Wayne is hiding something from her, from them… From us.

Similarly, Jason Todd’s anger comes from a place of hurt and a place of love, from insecurities and a need to prove himself. But like Bruce, all of that is clear to see. His anger and his hurt are simple to understand. Please, do not mistake this for me claiming that Jason is not a complex character — instead, I’m stating that his temperament, his trauma, and his actions are so interlinked that they are clear for the reader to see. His character, while rich, is more accessible. It does not take a lot of effort to know that Jason is angry because of what was done to him. It is easy to see that he is hurt because he equates Bruce’s love to the Joker’s death, and therefore sees Bruce’s failure to avenge him “proof” that Bruce does not love him as a son.

(Winick, Judd, writer. Battle, Eric, illustrator. All They Do is Watch Us Kill: Part 3: It Only Hurts When I Laugh. Batman no. 650, e-book ed. DC Comics, 2006. pp. 13) Dick, on the other hand, does not wear his emotions, his motivations, or his goals on his sleeve. Dick keeps his secrets not by constructing an impenetrable wall like Bruce, but through misdirection. This is why those who are unfamiliar with Dick misinterpret him so much. They take what is on the surface at face value because they do not have the character history to serve as context to understand what lies beneath As a Dick Grayson fan (From this moment forward will be referred to as Dick Grayson Fan A) said “good Dick writers teach readers how to read him and bad Dick writers just have that surface level interpretation.” (I was actually talking to her about this idea and how I’m presenting it in this essay. The example I gave was one she suggested after I asked if she could think of good moments that exemplified this idea.)

As an example, we can look at this moment from Grayson, in which Dick sucks a lollipop while receiving a mission assignment. Someone who is not familiar with Dick and is looking at Dick and Helena’s interaction might be easily fooled into thinking that Dick is the pretty, strong, but annoyingly childish and slightly dumb male character who contrasts the serious, intelligent, and highly competent woman. The characters’ expressions, actions, and the onomatopoeias are certainly leaning into that familiar trope.

(King, Tom; Seeley, Tim, writers. Janin, Mikel, illustrator. The Raid. Grayson no. 04, e-book ed. DC Comics, 2014. pp. 02) However, Dick Grayson fans know that when it comes to the mission, Dick is as serious as Batman himself. Highly intelligent, Dick is considered to by many the world’s second greatest detective (there are many instances in canon when he is referred to as such), making him more than just a pretty face who knows how to fight (It should be noted that in this tweet, writer Tom King also ranks Dick as the second best fighter in the Bat Family). Furthermore, context matters. Dick is deep undercover throughout the duration of Grayson, and this scene is set shortly after the death of one of the agents of the organization Dick has infiltrated. In other words, Dick is in a highly stressful situation without allies to provide him with back-up or emotional support.

His posturing in this scene, then, can be seen as an attempt to misguide and misdirect. He does not wish to let those around him – people he is not sure yet if he can trust – know the full extent of his capabilities or perceive any potential weaknesses in his value of human life. Positioning himself as the annoying and childish pretty boy who does not pay much attention to serious matters is a strategic choice that his fans readily pick up on.

That is not to say that Dick’s smiles are all lies. Rather, Dick’s upbeat nature is a natural aspect of his personality that he will exaggerate depending on the setting in order to keep his privacy. He is a natural performer, a showman, and so he utilizes misdirection to his advantage.

A classic example of Dick’s misdirection and how he is misinterpreted by others is how some would characterize him as an “attention seeker.” However, the term “attention seeker” has negative connotations as it implies someone who seeks the spotlight at the expense of others.

That is the opposite of who Dick is. But that’s not Dick is. As a mentor, a leader, and an older brother, Dick will often invite others to join the conversation. He pays attention to what they say, he strategizes based on their needs.

(Johns, Geoff; Wolfman, Marv, writers. Nauck, Todd, illustrator. The Brave and the Bold. Teen Titans no. 33, e-book ed. DC Comics, 2006. pp. 15)

Simply put, Dick is incredibly empathetic and always in tune with those around him. This is why he works so well as both a Bat and a Titan, and why his personality in each team is so distinct. As a Bat, Dick is often portrayed as cheerful, his bad puns are meant to cut the tension, the is the shoulder for his family to cry one; as a Titan, Dick is a leader, he is a strategist, he demands others take things seriously and will not tolerate slacking off, he is trying to instill good work ethics and ensure that the team dynamic stays in top shape.

As JL Bell writes in their essay Success in Stasis: Dick Grayson’s Thirty Years as a Boy Wonder for the book Dick Grayson, Boy Wonder: Scholars and Creators on 75 years of Robin, Nightwing, and Batman explains, “in contrast to how Robin behaved with Batman. [Dick] is usually [the Titans’] serious leader.” (Bells, JL “Success in Stasis: Dick Grayson’s Thirty Years as a Boy Wonder.”Dick Grayson, Boy Wonder: Scholars and Creators on 75 years of Robin, Nightwing, and Batman edited by Kristen L. Geaman, McFarland & Company, Inc., Publishers, 2015, pp. 22)

That is because Dick knows that when he is with his family, he needs to play one role, and when he is with his friends, he needs to play another. The Bats have their strengths, so Dick adjusts himself to play up on those strengths while also making up for its weakness. Same thing with the Titans.

Mark Waid perfectly exemplifies Dick’s adaptability when portraying him in his World’s Finest (2022) and World’s Finest: Teen Titans (2023). There, Dick brings levity to his work with Batman and Superman, keeping an upbeat attitude while still taking the job seriously.

(Waid, Mark, writer. Mora, Dan, illustrator. Manhunt. Batman/Superman: World’s Finest no. 14, e-book ed. DC Comics, 2023. pp. 07)

Yet, when he is with the Titans and feels the weight of leadership on his shoulders, he is more serious, being the one to get the Titans to focus on their objective, getting them to look at the big picture, while also making the most of their abilities as individuals and as a team.

(Waid, Mark, writer. Mora, Dan, illustrator. Team Spirit. Batman/Superman: World’s Finest no. 08, e-book ed. DC Comics, 2022. pp. 05)

So yes, Dick is a performer, a showman, but he is not “attention seeking.” In fact, his use of misdirection illustrates that Dick is a very private person. And how could he not be? While it is true that Dick grew up in the circus, after his parents’ death, he went to live with Bruce, and in doing so, was put into an intense amount of public scrutiny. The murders of John and Mary Grayson happened on a literal stage with dozens of people watching. As a result, Dick’s very private tragedy became a spectacle.

After the death of Dick’s parents, Dick isn’t allowed to disappear into anonymity. He is not afforded privacy to grieve. He is taken in by Bruce Wayne, Gotham’s most famous playboy, billionaire, philanthropic who is also a bit of a selfish airhead (at least, that is how the public perceives him), and as a result, Dick is subjected to an immense amount of public scrutiny, not just from the media, but also from Gotham’s elites, and even his peers at school. Not only that, as Robin, the Boy Wonder and the first ever sidekick, Dick also is put on the spotlight while also being aware of the necessity of keeping secrets.

As a result of having his tragedy broadcasted and having a new mission that requires secrecy, Dick becomes a very private person. He is not an open book; instead, he is meticulous about what he shares and he prevents people from looking at what is not of their business by using his showmanship.

Furthermore, Dick’s role as a performer who, as Joshua R Pangborn describes in his essay about the Robin costume, “experiences […] the full spectrum of emotions, each and every night, for the catharsis of others,” transforms him into a literal vehicle for emotional catharsis and empathy. (Pangborn, Joshua R “Fashioning Himself a Hero: Robin’s Costume and its Role in Shaping His Identity”Dick Grayson, Boy Wonder: Scholars and Creators on 75 years of Robin, Nightwing, and Batman edited by Kristen L. Geaman, McFarland & Company, Inc., Publishers, 2015, pp. 42) In their essay, Bell argues that while Bruce Wayne embodied “the mid-century ideal of the American male,” who is always “in control of his feelings, not letting them overcome his judgment nor displaying them broadly,” Dick Grayson “can express deep emotions, not only his own but Bruce’s.” As such, Dick often acts as a sounding board for his family, friends, team, and romantic partners. As a performer, Dick embodies whatever persona is necessary to create a safe environment where others can process their emotions and achieve catharsis. (Bells, JL “Success in Stasis: Dick Grayson’s Thirty Years as a Boy Wonder.”Dick Grayson, Boy Wonder: Scholars and Creators on 75 years of Robin, Nightwing, and Batman edited by Kristen L. Geaman, McFarland & Company, Inc., Publishers, 2015, pp. 12)

Dick's performance, then, comes not just from a desire for privacy but also from a deep place of empathy. It comes from a desire to help others work through their own stories. This is why he can step into other's narratives without overshadowing them. In fact, he’ll often elevate those characters by complimenting them and creating the circumstances needed for them to shine. As a performer, Dick is naturally adaptable and always willing to fill the role necessary to create the space required for others to work through their emotional needs.

But, as with everything, Dick’s performance is also a result of his destructive perfectionism. Dick equates “good” to “perfect.” He believes that he can only be wanted by Bruce if he is the perfect Robin, he can only be wanted by his friends if he is the perfect leader, he can only be wanted by his siblings if he is the perfect older brother, he can only be wanted by his partners if he is the perfect boyfriend. As Humphries’s The Untouchable demonstrates, because Dick was raised in an environment where failure could be fatal, he internalized these stakes to every aspect of his life.

(Humphries, Sam, writer. Janson, Klaus; Campbell, Jamal, illustrators. Ruthless. Nightwing: Rebirth no. 37, e-book ed. DC Comics, 2018.pp 20

And it doesn’t help that all of the people in Dick’s life do prove that assertion right. Everyone holds “the Heart of the DCU” to an impossible standard that, when Dick fails to live up to it, he is crucified and punished for it. If he tries to be perfect, he's told off for being the Golden Boy, but if he fails to be the Golden Boy, then he is told off because he let people down when they were relying on him. Ironically, this is done by characters in-universe real-world fans. As Dick Grayson Fan A pointed out in a discussion about depiction of Batman Family members killing their antagonists, “there's always this pressure to have Dick ~fall from grace~ and I do lowkey resent that. Dick should be allowed to be good, not punished for it.”

This creates an environment where Dick constantly needs to maintain perfection in order to be in everyone’s good graces. Failure is not met with understanding and comfort, but with punishment. No one expects him to fail, no one likes when he fails, no one forgives him when he fails. That also means that Dick doesn’t feel safe opening up about his insecurities because to do so would mean “proving” he cannot stay on the pedestal he’s been put on. And so, he is forced to perform the role of a “perfect good guy” by using misdirection so people won’t abandon him for being human (this was said during a very interesting discussion and addressed both canon and fanfic writers. There’s a lot that can be said about Dick’s parentification and how that is viewed in the context of fandom. This is not the essay for it, and, to be perfectly honest, I’m not entirely sure I’m the best person to open said discussion).

Taylor does not portray Dick as someone with this many layers. Taylor’s Dick is perfect simply because he is good. He is the perfect friend, who is always happy to support others. He is Barbara Gordon’s perfect boyfriend. Dick is the perfect older brother, the perfect son, perfect model citizen.

But by equating being “good” with being “perfect” without exploring the negative consequences that come from such pressures, Taylor robs Dick of the emotions that humanize him. In Taylor’s run, a good person will not be angry at their friends, will not be frustrated with their siblings, will never disagree with their romantic partner. This strips Dick of all of his nuances, and instead reduces him to a non-descriptive “everyman hero” with a limited emotional range whose only narrative purpose is to serve as a blank canvas for readers to project themselves into.

Simply put, Taylor is uninterested in writing Dick as a character because he does not see value in Dick for who he is. Nightwing #105, which removes Dick from its story in order to allow its readers to “be Nightwing” illustrates how Taylor and DC at large only value Dick his connections, not for who he is.

(Chen, Jess [jesswchen]. “Tweet Message.” 18 March 2023, https://twitter.com/jesswchen/status/1636971185782259716?s=20.)

Be Dick, and you can be good friends with Superman! You can be Batman’s son! You can be Batgirl’s boyfriend! Robin’s big brother! Flash’s best friend!

As a Dick Grayson fan, this feels insulting. I’m not saying Dick needs to be anyone’s favorite character, or that anyone even needs to like him. I’m not interested in dictating anyone’s taste. But to someone who loves Dick Grayson, it is insulting to think that those responsible for his stories fail to see his value. To Taylor, the person who, as the writer for both Nightwing and Titans, has the most control over Dick’s portrayal, Dick is nothing but a tool that will soon wear off its use.

In treating Dick as such, Taylor and DC send a clear message to those of who love Dick, and that message is that the things that make Dick special, the things that made us love him, do not matter.

For his near century long existence, Dick served as a stand in for those who feel othered in society. While I do not have the time to go into a gender studies and queer reading of Dick, it is notable that his character often spoke to many people who felt different. As Mary Borsellino’s 2006 essay “A lot like Robin if you close your eyes” Displacement of meaning in the Post-Modern Age explains:

The things which a Robin-like figure can contain, but which are cut off from being embodied by Robin himself, lose none of their importance simply because they are rejected by a restrictive, corporate-controlled status quo […] It's worth inspecting what was excised from Robin, and charting where these elements instead found articulation: in those from lower socioeconomic backgrounds; non-White people; young single parents; and HIV positive people. And, especially, girls and women (Borsellino, Mary “‘A lot like Robin if you close your eyes.’ Displacement of meaning in the Post-Modern Age, 2006)

While Borsellio’s essay focuses on the Robin mantle, as the creator of said mantle, such assertions can also be applied to Dick. In fact, Bell concurs with the idea that those who were othered have always took a preference to Dick when stating that “Robin’s status as the littlest guy in the fight increases the character’s appeal for some children, especially the ‘youngest and weakest.’” In other words, it is crucial to Dick’s character that he is not an “everyman hero.” He is not the hero of or beloved by the average individual, but rather by those who were ostracized by society.

Taylor’s writing exemplifies the “restrictive, corporate-controlled status quo” imposed by DC that Borsellino speaks of. His characterization is the manufactured image that removes Dick’s “socially deviant/rejected” qualities his fans loved about him so that he can be palatable to a more mainstream audience. (Bells, JL “Success in Stasis: Dick Grayson’s Thirty Years as a Boy Wonder.”Dick Grayson, Boy Wonder: Scholars and Creators on 75 years of Robin, Nightwing, and Batman edited by Kristen L. Geaman, McFarland & Company, Inc., Publishers, 2015, pp. 11)

This, of course, is not necessarily new. As Mason Downey argues in their 2015 essay In Defense of Dick Grayson: Objectification, Sexuality, and Subtext, DC has often struggled between leaning into the audience Dick has and wanting to erase any “othering” elements from his character. As they point out:

The more sexual and idealized Dick was allowed to become, the more attention he got from female and queer fans, the more the industry had to work to combat the past anxieties revolving around the character. This resulted in more and more heteronormative romances for Dick on the page. We can’t grant Wertham’s fears any legitimacy, we can’t make these stories “for girls.” Writers did so in a few ways, some obvious, some less so. On the page, we had Dick’s deflection of female sexuality that he was not in control of, and we had a level of emotional posturing with relationships he was in control of. We had moments where we saw him manipulating with or being manipulated by sex. There were editorial pushes to lean into Dick’s popularity with women and queer men coupled with the simultaneous desire to not acknowledge or grant legitimacy to the fanbase he found in those demographics. This translated to more sexualized poses. More pin-up style spreads. Multiple bait-and-switch wedding, marriage, and relationship teases which turned out to be fakeouts or got written out. Long strings of female side characters were introduced exclusively to be love interests. Off the page, we had more concrete examples. We saw a lack of merchandise and lack of representation of him in other forms of media. There was a pervasive hesitancy in broaching his existence outside of the spheres of already established fans. For example, Nolan’s The Dark Knight Rises featured Joseph Gordon-Levitt playing a character literally named Robin, who was invented for the film franchise rather than allowing Dick himself to exist in that cinematic universe. Dick Grayson is a character built upon one repeated mantra aimed at what eventually become two of his largest demographics, “Remember, this is not for you.”

(Downey, Mason “In Defense of Dick Grayson: Objectification, Sexuality, and Subtext” Women Write About Comics. December 2015)

What makes Taylor’s run unique is that in trying to have Dick tackle social issues such as homelessness and in trying to create a class commentary, Taylor attempts to create a progressive, albeit simplistic, veneer while erasing the important and “other-ing” aspects of Dick’s character that was so beloved by his fans.

This, I believe, is one of the many explanations why many of those who praise Taylor run claim that this is the first Nightwing run they ever enjoyed, while many (though admittedly, not all) those who have been longtime Dick Grayson fans feel betrayed and frustrated by the way their beloved character is being handled. Dick is currently being appropriated into a more mainstream, palatable hero. He is being taken from those who loved him and being scrubbed clean to be suitable for an audience who could not appreciate him for what he was, only for how his connections could give them a wish fulfillment fantasy. As another Dick Grayson fan expressed:

I see no heart in [Taylor’s] work, only soulless marketing. He sells himself as something good and work on his perfect public image and everyone who disagrees is wrong and it gets on my nerves like nothing else. […] I wouldn't be as salt[y] if Taylor was genuinely trying to writing something good. I don't have the heart to [be salty] at someone working with passion, even if I don't like it.

(Henceforth referred to as Dick Grayson Fan B... This was actually said during a discussion in which we expressed how we wish we could be as excited about Taylor’s run as many others are.)

#nightwing #dick grayson #anti tom taylor

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