#he has an actual personality! very rare for Superman comics as I’m learning especially for ones that came out before the last 10 years

[goose-change-in-my-pocket]

Superman: Secret Origin

[maxwell-grant]

Your Top Five Pulp Heroes that you wish were better known? By Pulp Hero fans, I mean. Since pretty much all of them except Conan and Tarzan are fairly unknown.

It’s actually quite hard for me to narrow it down to just five, because I’m having to choose between characters that are my favorites that I wish were more well-known and appreciated (which is all of them), and characters that aren’t quite my favorites but I very much think should have achieved great popularity for a myriad of reasons. So instead I’m going to pick some of each. These are not necessarily ranked by their importance or my personal taste, just 5 characters I felt like highlighting in particular. 

Honorable mentions goes to characters I already talked about prior and don’t want to repeat myself on. These aren’t “lesser” picks, just ones that I already talked about: Imaro (who in particular definitely feels like he could, and should be, a pop culture superstar if he was only more well-known), Kapitan Mors (who’s got a lot in common with one of my favorite fictional characters, Captain Nemo, but also has a lot of interesting things going on for him as his own character). Sar Dubnotal (a character that appeals a lot to me and I think should be included much more often in pulp hero team-ups). The Golden Amazon (again, definitely a character that feels like it’s just begging to have a pop culture breakout, even comic books rarely if ever have female supervillains this ruthless and over-the-top), The Mexican Fantomas (who absolutely deserves a better name than what I’m calling him here, because he’s incredibly awesome and leagues ahead of just being a knock-off). And of course my homeboy, The Grey Claw, whom I would consider Number One of the list if it wasn’t for the fact that his obscurity has left him untouched by copyright and I got plans of my own for the character that wouldn’t be possible if he was more well-known, so I guess I’m ultimately glad he’s obscure (even if I’m still bothered by how little he’s known). 

Allright let’s go:

Number 5: Sheridan Doome

Sheridan Doome appeared in fifty-four stories and three novels from 1935 to 1943. As chief detective for U.S. Naval Intelligence, Lieutenant Commander Sheridan Doome’s job was a grim one. Whenever an extraordinary mystery or crime occurred in the fleet, on a naval base, or anywhere the navy worked to protect American interests, Doome was immediately dispatched to investigate it. Fear and dread would always precede Doome’s arrival in his special black airplane. For, in an explosion during WWI, he had been monstrously disfigured. 

He was six feet two inches tall; had a chalk-white face and head. It appeared as though it had once been seared or burned. For eyes, he had only black blotches; glittering optics, that looked like small chunks of coal. His nose was long, the end of it squared off rudely. He had no lips, just a slit that was his mouth. His neck was long, as white and as bony as his face…. Sheridan Doome looked more like a robot than a human being. He was tall and ghastly; his uniform fitted him in a loose manner. Long arms hung at his sides; his face was a perfect blank. He had no control of his facial muscles; consequently, his countenance was always without expression, chalky and bony.

But behind the ugliness was a brilliant mind. Sheridan Doome always got his man. Before Sheridan Doome became a staple in the pages of The Shadow magazine, two Doome hardcover mysteries were written in the mid-1930’s by acclaimed hard-boiled author Steve Fisher (I Wake Up Screaming) and edited by his wife Edythe Seims (Dime Detective, G-8 and His Battle Aces). Age of Aces now brings you both books in one huge double novel, presented in a retro “flip book” style. This book is currently Out of Print.

I sadly don’t have any more information on the character other than this. The book is unavailable for me to acquire in any capacity, and the text above is taken from the Age of Aces website as well as Jess Nevins’s personal profile for the character. I’m not even sure if any of those 54 stories even exist anymore, since although he was published as a backup in Shadow Magazine, there doesn’t seem to be reprints of them anywhere, at least as far as I can find, and the original Shadow magazines have largely turned to dust by now. 

A character who combines aspects of The Phantom of the Opera and The Shadow, whose adventures are set in a backdrop that can easily lead to ocean adventures? That’s like, what, three of my favorite things in the world combined. I really, really wish I could at least read the stories this character stars in, but as is, this description is all I can provide. Again, time really has been cruel to the pulp heroes. 

Number 4: Harlan Dyce

This is another character I’ve only been able to learn about through Jess Nevins’s archives and have not been able to attain any further information on, which is sadly the case with a lot of pulp heroes that nowadays only seem to exist as footnotes in his Encyclopedia or records in libraries. I don’t post more about these characters because I really would just be copying the stuff he wrote without much to justify me quoting him verbatim, and I hate the idea of doing that.

I especially hate that in Harlan Dyce’s case though. Here’s his description

“Dyce had brains, taste, money, ambition, and a total lack of physical or spiritual fear. But—

“Dyce was thirty-three inches tall and weighed sixty pounds.

“That was all the world could ever hold against him. That was what had made the world, most of it, in all the countries of the world, stare at Harlan Dyce, billed in the big show as “General Midge.””

Harlan Dyce is a misanthropic and venomous private detective. He has an “amazingly handsome face,” and the aforementioned brains. But all anyone sees is his stature, and he hates that and turns his cold eyes and acid tongue on them. 

The only person Dyce likes and gets along with (besides his dwarf wife, a former client) is his assistant, Nick Melchem, a six-foot tall former p.i.’s assistant with bleak eyes and a strong body. Melchem ignores Dyce’s stature and treats Dyce normally, which Dyce responds warmly to.

Dwarfs may be the single most maligned group of people depicted in pulp magazines, even more so than the Japanese in the war years or the Chinese during the peak of the Yellow Peril’s popularity. Evil dwarfs, murderous dwarfs, sexually depraved dwarfs, they are all loathsome, ugly cliches that are, sadly, the only instances you see of dwarf characters being represented at all, with the only ones who are awarded any measure of sympathy are doomed henchmen or tragic villains.  Even outside of the pulps, the only other examples of heroic, protagonist dwarfs I can think off the top of my head are Puck from Marvel Comics and Tyrion Lannister from Game of Thrones.

I’m not gonna say Harlan Dyce is great representation because I’m not a little person and can never make that kind of claim for a group I’m not a part of, but Harlan Dyce may be the first time I’ve ever seen a dwarf character in pulp fiction who was not a villain or a murderous goon or a victim, but an actual person and a heroic protagonist, and that definitely counts for something. I’m not sure how popular this character was or could be if someone picked up the concept and ran with it (and I’m pretty sure he’s public domain), but I definitely think this is a character that should exist and should be popular. 

Hell, this character has Peter Dinklage written all over it, give it to him. Maybe then he will get to play a smart, fearless, cynical, misanthropic but good-natured and heroic character in something where he actually gets to keep these traits until the show ends.

Number 3: Audaz, O Demolidor

Audaz is a Brazilian character who was created and published by Gazetinha, the same publishers of Grey Claw as well as properties exported from elsewhere like Superman and Popeye, and much like The Grey Claw, he is also completely unknown even here. I’ll get to Audaz more in-depth sometime but here I’m going to provide a quick summary: 

Audaz, The Demolisher is a gigantic crime-fighting robot controlled and piloted by the brilliant scientist Dr. Blum, his close friend Gregor and the child prodigy Jacques Ennes, who pilot the giant robot from a massive laboratory inside it's head rather than a cockpit. He takes on a variety of ordinary human criminals, mad scientists, supervillains and invading armies, towering over skyscrapers and grappling with jets.

Audaz was created in 1939 by illustrator Messias de Melo, a year before Quality Comics's Bozo the Iron Man and 5 years before Ryuichi Yokoyama's Kagaku Senshi, and decades before the debut of Mazinger Z. Although he is not the first giant robot of science fiction, he is the first heroic giant robot piloted by human pilots, and thus the first true example of "mecha" fiction.

Number 2: Emilia the Ragdoll

This is another Brazilian character, although nowhere near as obscure as Audaz as even a cursory Google search can show. Although Brazil did not have a “pulp era” in the same way the US had, we’ve long gotten past the point of sticking to it as a definitive rule, and I’m including Emilia as a pulp hero because she’s a 1920s fantasy literature character who was created under a publishing company that released pulp stories, because she doesn’t quite belong in the mold of fantasy literature characters she takes after, and because I like her and if I was putting a bunch of pulp heroes together in the same story, I would definitely include Emilia in it. It’s not like she really has anywhere else to go, now that she’s public domain and she’s outlasted her franchise.

As you can tell by the above image, Emilia’s had a lot of variations over the years and that’s because the work she was created for, Sítio do Picapau Amarelo (Yellow Woodpecker Ranch/Farm), has become a major bedrock of Brazilian fantasy literature, one of the only works created here that you can find substantial information about in English if you go looking for it. Here’s some descriptions of Emilia’s character:

Emília is a rag doll described as "clumsy" or "ugly", resembling a "witch" that was handmade by Aunt Nastácia, the ranch's cook, for the little girl Lúcia, out of an old skirt. After Lucia takes her on an adventure and the doll is given a dose of magic pills, Emília suddenly started talking, and would never stop henceforth.

Emilia has a rough, antagonistic personality, and an independent, free-spirited and anarchist behaviour. She is rogue, rebellious, stubborn, rough and intensely determined at anything she sets her mind on, eager to take off on just about any adventure. She is often immature and behaves like a curious and arrogant child, always wanting to be the center of attention.

She is extremely opinionated even when she constantly and confidently mispronounces words and expressions. Her attitude often gets her into trouble, and she very often has to fight against the villains who attack her home on the Yellow Woodpecker Farm and mistreat her friends.

In the stories, Emilia often takes the role of a heroine who travels through different realms and dimensions, as the books include not only figures from Brazilian and worldwide folklore, but also several characters both real and fictional, such as Hercules, King Arthur, Don Quixote, Thumbelina, Da Vinci, Shirley Temple, Captain Hook, Santos Dumont and Baron von Munchausen.

She's fought scorpions and martians and nymph hordes, her arch-enemy is an alligator witch, she rescued an angel from the Milky Way and tried to teach it how to become a human, and once shrunk the entire population of Earth to try and talk the president of the United States into ending war forever.

To little surprise, she has become the most popular character and the series’s mascot.

It’s a little strange to consider Emilia underrated considering she is one of the most famous original characters of Brazilian literature, but hardly anyone outside of Brazil even knows who she is, and regardless of the quality of the original stories (and Monteiro Lobato’s views on race that tar much of his reputation), Emilia definitely feels to me like a character that should be a lot more popular globally. 

She is the only character from Yellow Woodpecker Ranch that has transcended the original stories, since she was always the most popular character and there’s been a couple of stories written about her that usually separate her from the ranch and just set her out on the world by herself. The latest story about this character has been a series called The Return of Emilia, that’s about her stepping out of the books in 2050 and discovering a Brazil that’s been ruined by social and ecological devastation, and traveling back in time via a flying scooter in order to try and prevent this calamity. 

Now that she’s public domain, I definitely think there’s some great stories that can be told with the character that just about anyone could get to, and I definitely think she’s a character that deserves more appreciation. Anything goes in stories starring her and it’s that kind of free-for-all freedom that I think can benefit future takes on pulp heroes. I would be very happy to place Emilia among them.

Oh yeah, and there was one time she kicked Popeye's ass by tricking him with a can of mouldy cabbage instead of spinach, making him sick and then beating him, which possibly puts her as one of the all-time badasses of fiction, except she would be pissed at not being number one and likely embark on a quest to beat everyone else just to prove she could, because that’s how Emilia rolls.

Number 1: Luna Bartendale, from The Undying Monster (1922)

Not necessarily my favorite of the bunch, but one who sort of epitomizes what you asked, a character who is both incredibly obscure and incredibly underrated in every sense. Despite the book being somewhat known, mainly thanks to the movie, the character is so obscure that I don’t even have an illustration of her to display here, not even fan art, just one of the book’s covers that I think best conveys it. Luckily, the book is also available freely online, so you can all go check it out here. The movie adaptation does not feature the character of Luna Bartendale which makes it pointless to talk about.

To not spoil it too much, The Undying Monster is a very fascinating book, ahead of it’s time in quite a few ways. You expect it to just be a detective story centered around a werewolf cursed, except the subtitle of the book is “The Fifth Dimension” and then it goes to talk about dimensions of thought and post-WWI trauma and love and hypnotic regression that travels through time and ancient runes and Norse mythology. It’s not exactly an easy book to get through in one setting, but I’d recommend it much the same if only because it’s got supersensitive psychic sleuth Luna Bartendale, literature’s first female occult detective, and she’s an incredible character who absolutely feels like she should have become a literary icon. 

She lives in London but is world-renowned for her many good deeds. She is a small, pretty woman, with curly blonde hair, dark eyebrows and a high-bridged nose, and a slight build. She has a voice described as a light soprano that "does not make much noise but carries a long way". 

Petite, bedimpled and golden curled, Luna is completely in charge of events, dominating every scene that she appears in with her welcoming disposition and cleverness. 

Bartendale has various psychic powers, including mind reading. She is well-versed in psychic and occult lore, is a “supersensitive” psychic, and has a “Sixth Sense” which allows her to trace things and people through both the Fourth and the Fifth Dimension. (The Fifth Dimension is “the Dimension that surrounds and pervades the Fourth–known as the Supernatural”).

Her extensive knowledge of occult rites and practices puts John Silence, Carnacki and Miles Pennoyer to shame, and she beats them all with her "super-sensitive" gift of being able to psychically connect with troubled souls and hypnotize them.

She uses a divining rod for various tasks, including psychic detection and tracking, and distinguishing between benevolent and malevolent forces. She has various (undefined) powerful psychic defenses, can carry on seances, and can even cure a person of “wehrwolfism.” And she can always rely on her massive, intelligent dog Roska for help.

Luna sadly doesn’t show up in the book as often as I’d hoped, but everything about this character is so delightful. In a lot od ways she hardly feels like a pulp hero, at least the ones I usually talk about. She feels like a lost protagonist from an incredibly successful kid’s adventure series where a kind and eccentric detective witch and her giant dog go around solving occult mysteries and encountering all sorts of weird supernatural beings while counseling and helping people, like Ms Frizzle meets Hilda. Like this character is just waiting for Cartoon Saloon to make a film about her.

Its not so much “this character should/could be popular but it’s clear why that didn’t pan out”, it’s more me being confused as “why the hell isn’t she super popular? This character should have had a franchise ages ago, holy shit put her in everything””

[violetsmoak]

The Specter at the Feast [1/?]

AO3 Link: https://archiveofourown.org/works/24556579/chapters/59300599

Summary: A tragic incident as a child left Tim Drake with the ability to commune with the dead. It’s a skill he’s used to close some of the most confounding cases to come across his desk at Gotham City’s Major Crimes Unit. But when he learns of an apparent murder-suicide that could link to a very personal case he’s been working for ten years, he might need more than a connection to the afterlife to solve it. Especially when Detective Jason Todd, a man in denial about his own psychic abilities, is assigned lead on the same case.

Sparks immediately fly between the two detectives—and not necessarily in a good way—as they are forced to work together to take down a macabre serial killer before it’s too late.

Disclaimer: This story uses characters, situations and premises that are copyright DC Comics, Inc. No infringement pertaining to graphic novels, television series or films is intended by violetsmoak in any way, shape or form. This fan-oriented story is written solely for the author’s own amusement and the entertainment of the readers. It is not for profit. Any resemblance to real organizations, institutions, products or persons, living or dead, is purely coincidental.

Author’s Note: Here’s one of the stories I’ve been working on for JayTimWeek. As I mentioned on tumblr, I got hit by a big blast of inspiration for one of my original stories and have kind of been working on that like mad for the past three weeks, so unfortunately I didn’t have time to dedicate to the prompt fills for JTW as I wanted to. As soon as I run out of steam for that, I’ll get back to filling the prompts. So, bad news I probably won’t post anything else during the event, but eventually my prompts will all crop up once I recapture my attention span :P Huge thank you to strawberyjei for taking the time to beta-read this chapter!

_______________________________________________________________

“That stuff will kill you one day.”

Tim Drake frowns and glances to his right, noticing the half-amused and half-exasperated smile playing on his best friend’s face.

“Will not,” he retorts with the instantaneity of an oft-repeated argument and leans more securely against sun-warmed stone. He takes a defiant sip from his jumbo travel mug, enjoying the bitterness of his favorite morning indulgence—slow-brewed light roast with three shots of espresso. “Besides, how else do you expect me to be awake enough to drive out here at this hour?”

He doesn’t have to see Kon to know he’s rolling his eyes.

“You don’t actually have to—you’re the one who keeps showing up; I just wait here.”

There’s something buried in the joking tone, and Tim shifts in discomfort as he detects the unspoken scolding. Choosing to ignore it, he swallows another mouthful of coffee and stares past the well-kept shrubbery, observing the gentle waves on the river.

From a distance, Gotham’s elegance is deceptive. By daylight, the riot of architectural styles jutting into the horizon appear whimsical instead of grotesque, and the layers of filth and decay suggest character as opposed to rampant corruption. Even on a Sunday, it teems with energy.

I guess that’s what still convinces people to move to the crime capital of America.

Tim knows from experience that the city’s grandeur is not as noticeable when combing her streets for the criminal element.

That knowledge doesn’t stop him from digging out his cellphone and snapping a few lazy photos. The quality won’t compare to shots taken with the Nikon he has at home, but it’s rare to perceive the city of his birth as something other than sinister; he won’t squander the opportunity.

“Maybe it’s the other way around,” Tim suggests in a light tone. “I could just be out here, minding my business, taking in the scenery—”

“Hah!”

“—and you’re stalking me.”

“Stalking’s your thing.”

“Is it really stalking if you get paid for it?”

“Whatever you say, detective,” Kon sneers without true malice and crosses his arms across his chest. Despite the chilly early spring air, he’s wearing only a black t-shirt with a red Superman symbol. Tim gave it to him for his birthday a few years ago, but the sight of it these days still elicits a nostalgia-induced lump in his throat. “Either way, you’re the chump who showed up here on his first day off in forever. Sunday, remember? You’re supposed to be spending the day lounging at your fancy estate, getting ready to gorge yourself on Alfred-made dinner, not bumming around with me.”

“That’s not for hours,” Tim dismisses, “and to be honest, I’d rather skip it.”

Kon glances sideways at him. “Haven’t you missed it all month?”

“I was working the entire time. Everyone in the family has to do the occasional weekend rotation, Alfred knows that. Besides, I see them all at some point or another every week.”

“Excuses, excuses,” Kon taunts. “I thought we agreed you needed to stop isolating yourself?”

The furrow in his brow is one that Tim recognizes as a prelude to concern, though, and he suspects he won’t be able to deter his friend.

“I’m not isolating myself.”

“That so? When was your last date?”

And there it is.

“I left myself wide open for that one,” Tim sighs.

“You know I’m right.”

“Here it comes…”

“I’m serious—you can’t still be carrying a torch for your ex—”

“There are no torches.”

“—hoping it’ll work out—”

“I’m not!”

“—because that ship has sailed,” Kon concludes. “She’s dating your sister for God’s sake.”

“I’m aware.”

“And it’s been two years.”

“I’ve been on dates in the last two years,” Tim protests.

“Cassie doesn’t count,” Kon replies. 

That earns a wince. “We agreed never to speak about that.”

“And I told you I was fine with it, man, it’s not like I was there.”

There’s a heavy sensation in Tim’s chest at that reminder, and he scowls at Kon for bringing it up. That usually earns a shrug or palms-up gesture of surrender, but today Kon squares his shoulders and raises an eyebrow in challenge.

“I already told you it meant nothing. We were both hurting and just…needed someone,” Tim insists.

Kon ignores him. “Which I’m okay with—relieved, even. I know you guys wouldn’t have looked at each other if circumstances were different. Which brings me back to Cassie, not counting.”

“She was there for me as much as I was there for her—can we please talk about something else?”

“Depends—do you have a better example than my last girlfriend?”

“Hey, I’ve been with other people! Remember Tam?”

“Yeah, your dad’s former business manager’s daughter,” Kon deadpans, “who you only started dating because everyone thought it was convenient. And she left you because you weren’t interested enough in the relationship.”

“What are you talking about? I was interested!”

“You didn’t even get to second base with her, man.”

“Are you seriously using the baseball metaphor?”

“Then there’s Bernard Whatshisname for the occasional booty call.”

“I regret ever telling you about that.”

“And don’t even get me started on that cop from Hong Kong that you hooked up with last month.”

“Okay, that one was a mistake,” Tim admits.

“But none of those were actual relationships. You haven’t had one of those since Steph.”

“I don’t recall you being this judgy before.”

“You’re one of my only sources of entertainment,” Kon deflects. “It’s like binge-watching Netflix and yelling at the idiot hero to stop screwing up his life. Except in this case, the idiot hero can actually hear me and have to listen.”

“‘Have to’ is debatable…”

Kon pushes off the stone they are both leaning against and turns to face him. It always annoys Tim when he pulls this, given he’s three inches taller and has twice the upper body strength.

“This is what you do, Tim. You keep people at a distance and on the rare occasion where they disappoint you or hurt you, you close yourself off,” Kon sighs. “You need to relax, man.”

Tim’s phone rings, granting him a welcome distraction.

“The last time I relaxed, I got stabbed,” he reminds Kon as he glances at the device. He blinks in surprise when he recognizes his brother’s scowling face and phone number flashing up at him. “Speak of the devil.” He swipes at the screen and answers, making a face at his best friend. “Gremlin.”

“Timothy,” is the terse answer, and Tim can almost hear the scowl in the younger man’s voice.

Huh. First name today. Either something bad happened, or he wants something.

Tim ignores the tiny edge of worry blossoming at the thought; if it were a family emergency, Alfred or Dick would call him, not Damian.

It must be the second thing.

“What do you want?”

“Where are you this morning?” the younger man asks, ignoring the question.

“It’s Sunday, where do you think I am?” he shoots back, deciding two can play ‘answer-with-a-question.’

Except Damian seems to have no intention of following the usual script.

“Of course,” he says instead, sounding distracted. “Then you should be close enough.”

“…For what?”

There’s a beat of hesitation, and then Damian says, “I may have stumbled upon something you’d find…interesting.”

Because that doesn’t sound ominous…

“Define ‘interesting’.”

“I’m at work,” Damian says. “Securing a crime scene.”

That moves Tim along the spectrum from wary to defensive at once. He goes to substantial lengths to avoid working with any of his siblings in a professional capacity. It’s a necessity in a family where law enforcement is all but synonymous with the name Wayne. Even if their older brother Dick hadn’t started the tradition of downplaying that link in the professional sphere, Tim has always been diligent in establishing professional boundaries. So far, his family has respected them. Damian, in particular, has always been gleeful—almost militant—in keeping to that maxim; for him to break it, something must have upset him. 

And for him to reach out to me instead of Dick is…I don’t think it’s ever happened.

“Are you sure you should have called me then?” Tim queries in a careful tone, wanting to make sure he’s not misreading the situation. “Dick might be a better option.”

“Richard wouldn’t understand. He wouldn’t view it the same way.”

“The same way,” Tim repeats, the words sparking something—a flicker of suspicion begins to take shape.

“I shouldn’t even be telling you this,” Damian continues, “so you’d better be appreciative—”

“Spit it out, Damian.” Tim doesn’t have the patience for the adult version of ‘I-know-something-you-don’t-know’.

“Murder-suicide. Apparently. The bodies were posed,” Damian says, voice low as if he doesn’t want someone to overhear him, “And all the victims are holding hands.”

Tim’s mouth goes dry and his entire body tenses. “All?”

“Five,” Damian tells him shortly.

That makes Tim close his eyes in dismay. “Other than the number it’s the same MO as the others?”

“The crime itself, yes. Don’t your files say the last one was five years ago?”

Tim knows it should irritate him that Damian’s been poking around his casefiles—he always considered office protocol as more guidelines than law. But the infraction pales next to the knowledge blossoming into being.

It’s happening again.

“If you want to see for yourself, get here before whoever they assign as the lead detective does,” Damian is saying.

Torn, Tim’s eyes flick to Kon, who clearly knows what is being said and whose expression is all-too knowing for Tim’s liking.

“Where is it?” Tim asks at last.

“Diamond District. Gotham Tower Apartments.”

“That’s unusual,” Tim grunts, trying to ignore the tightness in his chest. Only one of the earlier cases took place in what either of them would consider an upper-class neighborhood. “Also, outside of my jurisdiction.”

“That wouldn’t stop me if I were in your position.”

There’s a click and then a dial tone.

Tim gives a slow exhale, closing his eyes.

He and Damian were never the closest, but once the early friction between them eased, they developed their own dynamic. And one specific shared understanding that they bonded over in secret, away from the prying and often unintentionally judging eyes of family.

“How is he a jerk even when he’s trying to be helpful?” Tim mutters more to himself than Kon. He’s already calculating how long it will take him to get across the bridge from Metropolis.

Half an hour, with no traffic.

It will be cutting it close, assuming Damian holds off giving his own precinct the details until the last second.

He must be serious about this if he’ll risk being called up on discipline for not following protocol.

Tim turns to Kon. “Sorry, but I need to head out.”

“Like I won’t see you again next week,” Kon dismisses with a grim smile. “After all, you’re always here.”

“You say that like you don’t want me to be,” Tim replies, suspicious.

“Don’t put words in my mouth. You’re my best friend, I obviously want you to visit. But you need more in your life than work, checking in with me and—I dunno—chasing some white whale.”

“Really?” Tim deadpans. “You, of all people? You want me to give up trying to get justice—”

“Not what I’m saying,” Kon interrupts. “I’m just trying to tell you there’s more out there and you deserve to find it.” He pauses. “And   agrees with me.”

Tim cuts off a curse with a hiss. “That is a low blow, you two ganging up on me.”

“What can I say? You’d better listen, or he’ll do something impulsive, if he hasn’t already.”

“I’ll keep that in mind,” Tim grumbles, keying the coordinates of the crime scene into his phone’s GPS.

“Remember,” Kon calls after him, “ ”

“Always do,” Tim replies. As he heads for the gates of the cemetery, brushing his fingers against the headstone that reads: Connor Kent, Beloved Son, Brother, Friend—Brave Fireman of the Metropolis Fire Department.

⁂

“Six days,” Jason Todd fumes, glaring down at the muddle of papers and file folders in front of him. “I’m gone for six days, and you jerks decide to turn my desk into an episode of Hoarders.”

“Relax, Todd, it’s just paper, not toxic waste,” Detective Adams drawls as she passes by, unapologetically grabbing a few of the offending folders on her way.

“This? This is not just paper, it’s a potential biohazard.”

His desk, usually the immaculate outlier in the chaotic, open concept dumping ground of the 12th Precinct, is now covered in empty coffee cups, old take-out cartons, and other detritus.

“Says the man who filled my desk drawer with a cubic foot of golf balls the last time I was on leave.”

“None of which were covered in saliva—I mean, come on!” He holds up several crumpled napkins. “It’s just common fucking courtesy!”

“Take it up with Rayner.”

“Of course it was him. Guy has it out for me…”

“You did shoot him.”

“One time! And it was a shoulder wound! If I hadn’t, both our covers would have been blown and we’d both be dead.”

“Cry me a river, Todd,” Adams snorts. “I’ve got a lead on the Kirano case and don’t have time to wipe away your tears of manly angst.”

She stalks away, totally missing how he flips her the bird. Not that his heart is in it; he’s actually fond of Onyx and would even work with her if she could stand him. But the one time they were partnered together, it ended with them running away from an exploding truck and a two-inch-thick shard of metal through her shoulder.

Still trying to figure out how I got the blame for that one…

It’s not like he goes into a situation intending to get the people next to him injured. For some reason, he just happens to be better at intuiting incoming threats, whether it be a perp taking a swing with a knife or stopping just short of being shot.

It happens, sometimes, this inexplicable intuition. Roy always called it a sixth sense, but Jason takes issue with any of that hokey paranormal crap. He gets hunches—gut feelings that have served him extremely well in his career and helped him rise quickly through the ranks.

But he doesn’t like to think of himself as psychic.

He likes thinking of the possible reason for his “hunches” even less.

Finally getting the worst of the garbage into the trashcan beneath his desk, Jason starts on the wayward papers, pleased that most of it can be shredded and won’t require a trip to the file room. There’s one folder, however, that doesn’t fit anywhere: some arson report that has nothing to do with any of his ongoing cases.

He skims through the particulars of the folder and notes the name on the CSI report—B. Allen—which suggests it isn’t even recent. He’s been friends with the new ME, Stephanie Brown, for two years now, and never met the guy that was here before her.

Maybe someone’s trying to find a pattern or something.

Jason decides to bring it to the captain; if anyone’s missing a file related to their case, she’ll have a better idea.

He skirts around uniformed officers moving to and fro, some leading handcuffed offenders to the holding cells at the back of the building, others talking over their cases with each other or on the phone. He passes the office corkboard, filled with everything from sketches of perps at large (it seems Dr. Pamela Isley is up to her usual eco-terrorism) to reminders about the Gotham General Blood Drive (anyone who donates in uniform gets the rest of the day off, as well as the next one).

By the time he reaches the captain’s office, he’s sweating. It might be crisp outside, but inside there are so many bodies moving around that it might as well be the hottest day of summer.

Raising his hand to knock, he’s surprised when the door opens inward and the captain steps out.

“Todd,” she says with a blink, then nods to herself. “Right. You’re back today. That works. Get in here—I’ve got a case for you.”

He’s too used to Artemis’ brusque manner to be bemused; instead, he ducks into her office and closes the door behind him.

“It’s not another missing kid, is it?” he asks apprehensively; the last case involved a fourteen-year-old girl. “No promises I won’t break some scumbag’s teeth again if that’s the case.”

“You’d better not break anyone’s teeth,” Artemis chides him, a warning glint in her eyes. “Especially since you just got off suspension.”

And that for using “unnecessary force” in apprehending a drug dealer selling his shit to a bunch of kids.

“But no,” she continues, sitting behind her desk and reaching for a file, “it’s not. The officers on the scene are reporting it as an apparent murder-suicide.”

“And you thought that’s how I wanted to spend my first day back at work? I’m touched. Whatever made you think of me?”

“The fact that you were conveniently in front of me when I opened the door.”

“Aw, here I was expectin’ you to say something like, ‘well, you’re a constant pain in my ass, but you’ve also got the best record for closin’ cases in this department’.”

“You don’t need the ego boost. Now either take it and be grateful, or I’m giving it to Adams as I planned—”

“Gimme,” Jason interrupts, snatching the file folder from her.

“That’s what I thought.”

He settles into one of the chairs in front of the captain’s desk and opens the folder.

“I want this one looked into and closed as soon as possible,” Artemis goes on.

“Why?”

“Because of who the victim is.”

Jason frowns, scans through the preliminary report to see that the victim—victims—have, in fact, been identified. His eyebrows shoot upward.

“J. Devlin Davenport.” He looks up at Artemis, askance. “The investment guy? The one being investigated for embezzlement?”

“Fraud Squad’s been building a case against him for six months now,” Artemis confirms. “The guy set up a fake company and defrauded his investors out of 200 million. They’re still trying to track the stuff he funneled through the Bahamas.” 

“If they find it, send it my way,” Jason says, still skimming through the papers.

“Could you sound any more cliché?”

“If I tried, maybe,” he replies, distracted as he slides the folder he brought to one side of her desk. 

“What’s that?” Artemis asks.

“Dunno. File was on my desk. Arson, I think. Figured someone left it there.”

“We don’t have any arson cases ongoing at the moment, but I’ll ask around. Maybe someone’s doing case research.”

“Uh-huh,” Jason murmurs. He taps the paper in front of him. “Listen, if they’re saying this is a murder-suicide, that’s probably what it is.”

“Maybe. Maybe not. Look at the transcript from when it was called in.”

“‘Bodies of the deceased were…arranged around the dinner table’,” Jason reads. “What the… ‘lack of struggle might suggest sedation before they were removed to the dining room and posed’—posed? Like a photographer does?” He makes a face. “Kind of a lot of effort for someone who just committed suicide right after…”

“If I’m not mistaken, that would be the thing that needs investigating.”

Jason ignores the sarcasm, checking to see who called this in.

Al-Ghul. Huh. Well, at least he’ll keep the place from being overrun. Kid’s scary good at keeping the rubberneckers away.

And pissing off the MEs by lurking around while they work.

Jason knows the new officer just wants to learn, but he also tends to be a bit of an entitled know-it-all like most of his generation. It’s a trait he’ll lose the longer he walks a beat and works up through the ranks, but right now it makes most people want to punch him.

Jason might be one of those people if it weren’t for the fact Al-Ghul is meticulous about taking statements, prompt in securing crime scenes, and entirely willing to go the extra mile to help a detective close a case even when he’s off the clock. He recognizes the ambition and the need to prove himself from his own first years as a cop.

If he adjusts that attitude a bit, I might even put in a recommendation to put him on detective track…

Jason closes the folder and grins at Artemis.

“So, who’s the unlucky bastard you’re pairing me with today?”

He doesn’t work well with a partner, given his tendency to ignore rules in favor of his gut instincts. Especially since it’s never steered him wrong. Most other detectives can’t stand that, with the exception of his last partner, Roy Harper, who transferred to Star City six months ago to be closer to his daughter. Then again, Roy always considered rules arbitrary anyhow.

Since then, Jason’s been cycled through almost all the detectives at the 9th Precinct, all without finding a decent fit.

Pretty sure it’s Artemis’ way of torturing me since plenty of other guys work their cases solo.

It’s a blatant implication that he needs a babysitter.

“Rayner wrapped up most of his cases last week,” Artemis replies without even checking the duty roster on her desk.

“Hell no.”

“Oh, I’m sorry, am I giving you the impression you have a choice?”

“Unless you want me back on suspension, you’re not putting me with that asshole.”

“Well, Jason,” she says, finally looking up at him with an expression that suggests she’s fully ready to call his bluff, “you have this tendency to either piss off or sleep with whoever gets assigned to you. At least if you’re working with someone that pisses you off, I’m less likely to need to fill out the paperwork to reassign them afterward.”

“And if they happen to fall into both categories?” he leers at her in an exaggerated manner. She was one of his partners once, both on the job and briefly outside of it. He prods at the plaque on her desk that reads Captain A. Bana-Migdhall. In retaliation, she reaches over and raps him on the knuckles with it. “Ow!”

“You’re not helping your case right now.”

“You know, it’s not my fault Eddie decided he’d rather play Bond Babe for the scary CIA chick with the one eye. And Miguel’s the one who couldn’t keep his hands off me, so…”

“Just…go find Rayner,” Artemis sighs, waving her hand in dismissal. “I need that crime scene checked over and wrapped up quickly. The Mayor’s office wants an answer on this pronto.”

Jason sneers at that. “Of course they do. Because the Waynes and Davenports are old country club buddies, right?”

“Maybe fifty years ago. But Bruce Wayne spent more time as a cop than some rich college co-ed. He got elected based on his tough-on-crime stance, so it’s more likely he just wants to make sure the high-profile target of a class-action suit hasn’t been the victim of foul play.” Artemis pauses. “Especially since, having met the man, I’m pretty sure Wayne would have liked to beat the truth out of Davenport personally.”

“Now there’s a reality show I’d watch.”

“On your own time. Now go do your job.”

“Or Rayner.”

Artemis drops her pen and stares. “What?”

“Well, from what you said before, I figure if I fuck Rayner, it means you won’t ever make me work with him again, so—”

“Get the hell out of my office!” Artemis barks, throwing her tissue box at his head. Jason ducks and slips out of her office with a grin on his face.

There are a few good-natured laughs from his coworkers—“In trouble again, Todd?”—and he heads across the room to Kyle Rayner’s desk.

“What do you want?” the other detective demands, nose wrinkling at Jason like he’s just smelled something rank. It’s his default expression whenever they cross paths.

It’s also the expression that drives Jason to mess with him whenever he can.

Time for a bit of payback for the desk thing.

“Not me,” he says, affecting a nonchalant shrug. “Captain wanted to know if you could head down to the 7th.”

“And why would I do that?”

“Apparently her opposite number there has something she needs to be sent over and doesn’t want to wait on official channels to slow everything down.”

“What do I look like, a courier?” Rayner growls, but Jason can see from the way he smooths a hand through his hair that he’s got him.

It’s not exactly a secret that Jason’s workplace nemesis has a thing for Precinct 7’s Captain Troy, or that he’ll take any excuse to go flirt with her.

It’s unrequited, of course, and Jason’s bound to get an earful from Donna the next time they run into each other, but worth it to get Rayner out of his way.

“Whatever, man, I just work here,” he says, only half-pretending irritation. “You want to tell Captain ‘no’, it’s your balls in a vice, not mine.”

“Yeah, that’d be a switch, wouldn’t it?”

But the other man pushes back his chair and grabs his jacket.

Jason smirks at his retreating back and spins on his heel, returning to his own desk to grab his car keys.

Maybe the day’s looking up a bit.

⁂

There’s a gaggle of reporters already on the scene when Tim arrives, and he wonders not for the first time just how many of them have their own inside sources in the various police precincts of Gotham. There are also two ambulances on the scene, but thankfully someone had the foresight to park them in a way that shields the entrance of the high-rise apartment.

Officer Kelley, Damian’s partner of six months, is walking back and forth along the police tape to ensure none of the intrepid rubberneckers can get through. Head down and dark glasses firmly in place, Tim hurries past the press before they can recognize him (it thankfully doesn’t happen very often, but when it does it’s a pain in the ass) and approaches Kelly. Though they’ve met before, he flashes his badge and identifies himself. 

All of Tim’s official identification name him as Timothy Drake-Wayne and have since he was about seventeen, but he only uses the latter name if he absolutely must. With regards to work, he’s only ever used it during official meetings with the Commissioner or during obligatory police ceremonies.

Or when Bruce makes up some official sounding excuse to check up on me when he feels he hasn’t heard from me in a while.

He's endured at least one of those this past month.

Kelley barely raises an eyebrow, suggesting Damian must have warned her who he was calling and waves him through. It speaks to how much they trust each other as partners that she’s going along with what’s clearly a personal issue. Most other cops would question the need for two law enforcement officers from the same family needing to be at the same crime scene.

There are two elevators in the lobby, one of which is already open with a sign posted to warn residents from using it. Another officer Tim doesn’t recognize is waiting beside it, and Tim once again flashes his badge before heading up.

He’s subjected to a brief interlude of elevator muzak, before the doors open to the foyer outside of what has to be the victims’ apartment. Two ambulance techs are just exiting, carrying with them tools that are clearly useless here. He waits for them to pass and slips inside, taking in the stylish décor of the hall and nearby living room. Inside the latter, there’s a small woman speaking to another EMT, a blanket over her shoulders as she tries to speak through sobs.

Damian is watching the scene from across the room, mouth pulled into his habitual frown; this deepens when he sees Tim. Undeterred, Tim strides over—he was invited, after all.

“So, are you going to tell me why I’m risking Cassie’s wrath this morning?” he asks as he joins the younger man. Tim's friend might not be the type of captain to fire him for the flagrant conduct unbecoming, but she can make his life miserable for the foreseeable future.

“The bodies were found this morning by the cleaning lady,” Damian says, also not bothering with such trite pleasantries as a greeting. “No signs of break-in or struggle.”

“Cleaning lady? This early on a Sunday? They must have been paying her overtime.”

Damian raises an eyebrow. “Pennyworth works Sundays.”

“Only because it would take the same amount of phenobarbital to stun a moose as it would to make Alfred take a day of rest.” They exchange a wry look of agreement, and Tim returns to the subject at hand. “So, she identified the bodies?”

“Yes. Joseph Devlin Davenport, his wife Lina, and the three teenaged offspring—Neil, Irene, and Roderick.”

Tim’s eyes go wide; he’s met every one of them before. “Shit.”

“Indeed.” Damian flips through his notepad, though they both know it’s for show. “All the victims were executed by two gunshots to the head, except Davenport himself; the medical examiner was here, and her preliminary findings suggest the husband shot his wife and children first, then turned the gun on himself. There are no signs of struggle, no bruising, or markings on the bodies…”

“None of that’s particularly extraordinary though.”

“And then there’s their hands.”

They share a look.

“Did you mention that when you called it in to your superiors?”

“No, when I called it in I gave them the basics. Since then I’ve noticed a few things.”

“Such as?”

“Such as the fact a firearm was discharged several times in a residential complex and no one heard anything,” Damian says. “Yet I didn’t find a suppressor anywhere on the scene; just the weapon itself.”

“Is the penthouse soundproofed?” Tim asks.

“No. When I spoke to the downstairs residents, they told me they had even made several noise complaints to the building management in the past. Nothing ever came from it, of course—money talks—but someone should have heard something.”

“Assuming they recognized the sound of gunfire. This isn’t exactly Burnley. Which…could be a good thing. Buildings like this tend to have good security systems.”

“Obviously that was my next thought,” Damian drawls. “While Kelley was calming down the help, I went to speak with the security guards in case the camera system caught sight of anyone suspicious.”

"And did they?"

“No. They apparently had to run a routine update on their software, which knocked out the feed between 2 a.m. and 3 a.m.”

“And you think this is when the shooting took place.”

“I imagine Brown will find the time of death to be around that point,” Damian agrees with a smug upward quirk of his lips. “For Davenport to decide to kill himself at the exact time when the security feeds go offline is rather coincidental.”

Tim shakes his head. “Maybe, maybe not. Anything else?”

“What about the fact Davenport was left-handed but shot himself with his right hand?”

Tim blinks. “And how do you figure he was left-handed?”

“Please,” Damian dismisses with a snort, “I’ve been forced to attend enough fundraisers with Father in the past, and Davenport was often present. Even you would remember that ham-fisted troglodyte trying to sip from a champagne flute had you ever deigned to attend.”

Tim tilts his head in acknowledgment of both the barb and the observation. “Fair. Though so far all of this sounds pretty circumstantial—nothing really screams 'second shooter' here. And other than the hand thing—”  

“Go see for yourself. The bodies are in the dining room. I imagine your specific talents will confirm my suspicions.” Tim starts into the apartment. “By the way, if you’re still here when the lead detective gets here, I’ll deny knowing you.”

Tim snorts. “As expected.”

“And you are not to tell Richard I was involved in this. I’ll never hear the end of it.”

Tim has to hold back a chuckle at that; Damian is even more acquainted with Dick’s mollycoddling than he is.

“Noted. Let Alfred know I might be a bit late for dinner tonight.”

“It’s not Alfred you have to worry about.”

Tim heads down the hall, accepting a pair of plastic gloves from one of the passing investigators. As he pulls them on, he takes note of the doors to the bedrooms that remain open, and the photographs and paintings hanging on the walls. Nothing is disturbed, no signs of a struggle like there would be if the victims had been dragged from their beds, and there’s no sign of blood on the floors leading from the rooms or even the hallway itself.

That means the victims either walked voluntarily—which is unlikely—or sedated and carried.

It’s looking like Damian’s instincts might be on-point here, but it’s not until Tim steps foot in the dining room that he realizes just how much that’s the case.

He freezes in place, hit with a familiar jarring of his senses at something not meant to be perceived.

Davenport was a man in his mid-forties, tall and with the look of a skinny person that’s suddenly gained a whole lot of weight, and not in a healthy manner. Tim remembers meeting him at some dinner with his parents when he was younger, and his mother disparaging the man behind his back as a social-climbing schemer.

And that was before the Ponzi scheme.

The man’s blond hair implants are now plastered with blood and brain matter that oozes down the left side of his head. His eyes roll in wild fear, tears and snot running down his face, which is immobilized in a stiff smile from regular Botox injections. That mouth is now twisted in a grotesque scream that makes Tim wince even in its silence, the unsettling sensation of nails on a chalkboard traveling up through his nervous system.

Tim is careful not to draw the attention to himself, not just because of the crime scene team still milling about the scene, but because the last thing he needs right now is a panicked ghost latching on to him. Davenport’s spirit is still in too much shock for rationality and may fixate on Tim if he discovers he can see him. Which he knows from experience is not fun.

The newly dead are like drowning victims—if they catch hold of you, they’ll drag you under with them. Best case scenario, Tim experiences a few seconds of possession and a week of dissociative identity issues; worst-case scenario, he could die from the same trauma.

Unfortunately, given the lack of control newly dead spirits have, the latter is most likely.

The ghost is luckily far enough from the dining room table that Tim can edge past him without ostensibly acknowledging its presence; instead, he studies the actual bodies and tries not to regret his coffee that morning.

The five victims have not yet been moved, but the placement of tarps over them suggests the crime scene photographers have already been by. Going from one body to the next, Tim lifts the sheets carefully, trying not to disturb anything too much in his investigation. The victims are all dressed in their nightclothes, seated around the table on wooden, cloth-back chairs. 

Damian wasn’t lying; all of them holding hands.

The dining room table is fully laden with dishes and cutlery, glasses filled with orange juice and bowls with the soggy remnants of cereal and milk. Other than the angry red entrance wounds on their foreheads—two shots each—there are no other visible injuries. Only the body of the presumed shooter, based on the position of the gun and his hand, is splayed out unnaturally across the table, ostensibly from the force of the gunshot.

Otherwise, it looks like they were all just sitting down to breakfast at the time of death.

His stomach roils a bit at the notion, not only because of the clearly depraved mind behind arranging the tableau but because the scene is familiar to him in a way he wishes it wasn’t.

Teeth clenched, Tim digs out his phone and starts to take his own pictures, not wanting to have to contact the lead detective and beg for copies. In the periphery, Davenport’s ghost continues to spasm and flail, making it hard for Tim to concentrate.

His eyes rest on the spot where the murder weapon fell and is struck by a sudden idea. Hoping he’s right, he takes a quick tour of the rest of the apartment but makes deliberate stops in the bedroom and the home office.

It’s another fifteen minutes of taking pictures and lightly rummaging through the belongings of the dead before he finds something. Striding out of the office and back toward the scene of the murder, Tim shoots a text message off to his friend Victor at the ATF.

Running gun serial numbers might be a little more complicated than on TV, but the guy owes me a favor. And if I’m right—

His thoughts cut off as he notices movement out of the corner of his eye, a movement that belongs to someone living this time.

There’s a newcomer on the scene, and from the way he flashes the badge, Tim would guess it’s the detective who’s actually supposed to be here. He’s redheaded, wearing a leather jacket and a loose tie that looks like he threw it on in a hurry. Even from this distance, Tim can make out a couple of days’ worth of stubble on his chin and the edge to his mouth that’s inherently challenging. The man’s whole esthetic reads scrapper, but his posture and carriage inarguably declare cop. Tim would know, his family is made up almost entirely of them.

Pretending like he hasn’t noticed the stranger, Tim shifts to face the scene once again, continuing to study him under his lashes as the man exchanges words with Damian.

He blames Kon entirely for the way his attention rests on the man’s muscular thighs, before the man turns toward Tim and starts forward, conversation with Damian clearly over.

Well shit…

⁂

Jason has an uneasy feeling in his stomach even before he even arrives at the Davenports’ penthouse apartment.

It’s not an anticipatory reaction to seeing the aftermath of a murder—he’s worked homicide long enough to have developed a means of distancing himself from the crimes he investigates. The feeling is more like expectation, a nagging sense that something huge is about to happen.

Never a good sign in my experience.

“Detective Todd?”

Jason pauses as he finishes putting on a pair of plastic gloves and glances up at the speaker.

“Officer Al-Ghul,” he replies, more formal than usual as he tries to shove the weird feeling to the back of his mind. “What’ve we got?”

The kid excuses himself from the small, tearful woman he’s speaking to and strides over.

“It seems to be a murder-suicide,” he says and launches into a report that’s almost word-for-word the transcript of what he called into the precinct, with a few extra additions. Jason lets the words wash over him, keeping an ear out for anything that deviates too much from what he already knows while casting his eyes about the apartment.

Geeze, you could fit three Crime Alley families in the living room alone. Who the fuck needs all this space?

His eyes fall upon someone across the room that he doesn’t recognize.

Young—maybe a bit younger than Jason—with an athletic build and good looks that, despite being clean-cut, give no clue as to whether they’re male or female. Whoever it is, they’re not dressed as a CSI or in an officer’s uniform, but they’re studying the crime scene with the eye of someone in the business. When the stranger notices Jason, he or she turns around, apparently fascinated by the photographs on the living room wall.

“Who’s that?” Jason interrupts Al-Ghul. “New CSI?”

Al-Ghul scowls in annoyance, either at the interruption or at the subject of the question, Jason isn’t sure.

“Major Crimes,” he says after a beat. 

That immediately puts Jason’s back up. “What the hell is MCU doing here?”

Al-Ghul shrugs, as if to say, ‘that’s your problem, not mine’, and returns his attention to the woman from before. Deciding this is a welcome distraction from his own unease, Jason stalks toward the stranger, ready to rip them a new one.

“Hey, buddy—wanna tell me what you think you’re doing at my crime scene?”

“Just taking a look around,” the detective replies, not turning around immediately.

Jason’s eyes flick to the photos on the wall, wondering what seems so captivating.

Most of them are glamor shots, professionally done, but some are clearly personal photos. Davenport and his wife on a golf course, the teenagers lounging around against a tropical beach backdrop, and another of Davenport sitting in a bed surrounded by his kids. Though his surroundings seem comfortable, he’s hooked up to some kind of IV stand, and despite the smile on everyone’s faces, there’s a haunted edge to it.

Oh yeah, now I remember.

A while back there was something in the news about him undergoing treatment for some kind of blood cancer. He actually tried to use that to discourage his case from being investigated. Just proves what kind of scumbag Davenport is.

Was.

Which brings him back to the present.

“I’m gonna need a bit more than that unless you want me making a call to the brass up at MCU,” Jason warns.

The detective turns to offer Jason what is clearly intended to be a disarming smile. “No need for that, I’ll be out of your hair in a minute.”

Jason prides himself on not being susceptible to that sort of thing, but—

Holy shit, he’s hot up close.

And yes, that’s definitely a male face studying him with an air of appraisal, in spite of the deceptively delicate features. The guy is mostly clean-shaven and wearing a smart-looking peacoat that offers a compliment to his eyes, which are very blue. It’s the intense color you don’t see very often outside of newborn babies, but with a pronounced gleam of intelligence that feels almost penetrating.

There’s also a confident set to his shoulders and a stubborn bend to his lips that instantly puts Jason’s mind on the defensive (and other parts at attention).

“Detective Drake,” the guy goes on, offering a hand to Jason. His voice is warm and smooth, the kind that’s more suited for phone sex than reciting Miranda rights. “Major Crimes, as you already seem to be aware.”

Jason refrains from taking the hand. “Detective Todd. 12th Precinct. Homicide. There a reason you guys are sticking your noses into a murder-suicide?”

“There’s reason to believe this may actually be the work of a serial murderer,” Drake replies, looking unbothered by the rebuff.

“Really,” Jason says flatly. “And what are you basing that on? Because the report I got is leanin’ pretty hard on this guy killing his wife and kids, then himself. That’s probably how the city’s going to record it. This isn’t a scene that needs in-depth investigating and there’s no need for one lead detective here, let alone two—especially not a guy who’s clearly out of his jurisdiction.”

‘Detective Drake’ doesn’t appear to notice the clear marking of territory.

“Have you been in there yet?” he asks instead.

“No, because I’m wasting my time explainin’ protocol to a smart-ass out of his jurisdiction.”

Drake smirks at that, sharp and unwavering. “Well, when you get around to it, you’ll probably cotton on to the fact the murder weapon was a .32 automatic with the serial filed off.”

“So?”

“So, first of all, the neighbors would have heard the discharge if it was fired without a decent suppressor, but there’s no evidence of one at the scene of the crime.”

Which, Jason can admit, is out of the ordinary. Most people committing suicide don’t care about how loud the shot will be that takes them out, but if they did use one, it would still be attached to the gun.

“Second, Davenport was an ardent supporter of gun rights. I remember seeing a clip of him on the news, going at it with the Mayor over his proposed gun-control laws.”

Jason raises an eyebrow. “Your point being?”

“My point is that generally, gun rights activists own guns. Which Davenport did—you’ll find them in his closet and his study, next to all the relevant paperwork: 9mm Glocks. And they have serial numbers.” Drake levels a challenging stare at Jason. “What’s the point of procuring an unregistered weapon when you have your own within easy reach? And why chisel the number off if you’re just going to commit suicide? It’s not like you need to care about it being traced once you’re dead.”

“The guy was rich—rich people do weird things. Probably some convoluted insurance thing,” he suggests.

“Or it wasn’t his.”

“So maybe he was holdin’ it for a friend. It happens. Still doesn’t change the fact this tool offed his own family.”

“And what about the fact that the same model gun has been found at the scene of at least fourteen other murder-suicides in this city in the past ten years?”

“It’s Gotham. Play the probabilities game long enough, you’ll get a bunch of seemingly random crimes that resemble each other.”

“Maybe. But in the ninety-something years before that—in fact, as long as the city’s kept records on this sort of thing—there have been only two murder-suicides that could fit that pattern, and those had enough additional evidence to solve immediately. But in the past decade, we've got two particular years where a series of murder-suicides were committed using an unregistered .32, where neighbors didn’t hear any of the gunshots and yet there was no sign of a suppressor. Five years ago, and ten years ago,” Drake tells him grimly. “Both those years there were exactly seven incidents, and then they stopped. None of those have been solved.”

“That says more about the investigating cops than the crimes themselves. You don’t solve a murder-suicide—the evidence is right there,” Jason insists, though what Drake has to say is uncomfortably close to what his own gut was telling him when he walked into the apartment.

“And the fact that in each situation, the victims are found holding hands?” Drake challenges, with the air of someone presenting a winning argument.

And, yeah, that’s a bit of a weird coincidence, but still not an argument for a major investigation.

“If that’s an actual detail in all these supposed cases of yours, it would have been noted.”

“Not if no one thought it was worth noting,” Drake retorts. “Not if whoever made those reports just thought it was some kind of death pact or…cult related suicide. They weren’t looking for it.”

“But you are.”

“Clearly.”

Jason peers at him another beat and then shakes his head. “Look, I have about seven other cases of actual homicide that need my attention, so if you could just—"

“Seriously?” Drake demands, losing some of his smooth calm at last. “You don’t find any of that compelling enough to—”

“To what? Start imagining serial killers where there are none? No, I don’t,” Jason snaps. “All I see so far is some rich bastard got caught running a Ponzi scheme, so he decided to take the easy way out and dragged his poor family with him. It’s what rich people do when things get hard; because if they can’t have it, no one can.”

That earns him a cold look. “Out of the other fourteen cases, only one of them involved a couple who could be considered rich.”

“Fourteen other cases where only you seem to notice the pattern. I dunno what you want me to say, buddy. Clearly, you got an ax to grind, so do me a favor and grind it away from my scene.”

Despite his words, it’s not a suggestion, and Drake recognizes it.

Scowling at Jason in something like disgust, he straightens up. “Fine. I’m going. But when another family is slaughtered by this nutjob—and it will happen—you’ll remember this discussion. Hopefully, before you have to answer another six homicide calls.”

Drake spares Jason one final judgmental look and heads for the front door.

Jason watches him, briefly admiring the man’s ass as he walks away, and then puts the encounter out of his mind. He’s got a job to do, and Artemis said she wanted this sorted out today.

Squaring his shoulders and preparing himself for another grim sight—he hates crime scenes that involve kids—he heads out of the living room toward the back of the apartment and the scene of the crime.

Crossing the threshold to the dining room, Jason’s earlier disquiet morphs, evolving from nervous apprehension to a full-blown dip towards dread. He barely catches a glimpse of the tarps draped over the bodies, when his stomach pulls tight, shoulders tensing as if waiting for a blow from the right, but there’s no one there. Something far too close to fear chokes at his throat, forcing him to pause in the doorway and put a steadying hand on the doorframe.

Spots appear across his vision, a chill winding up his spine, and—

—sobbing, hysterical tears, please don’t do this, please just let them go, heart racing, blood thundering, please no, I’ll give you anything, someone help, click, bang, agony, nothing—

Jason shudders as he comes back to himself, reeling back a step.

The sensations ebb a little but don’t completely vanish, and he has to take a few breaths to regain his control. Now that he expects it, it won’t be too hard entering the room, but the fact it hit him like that...

Jason glances back to the entrance of the apartment, mouth setting into a grimace. He’s cleaned up plenty of suicides, and they never hit him with that degree of dread before.

 He has a bad feeling that Detective Drake might have been right—whatever happened in the apartment, it wasn’t as simple as it's meant to look.

________________________________________________________________

I want to know what you think of my story! Leave kudos, a comment or if writing comments isn't something you're comfortable with, as many of these (or other emojis) as you want and let me know how you feel! ❤️️ = I love this story!

😳 = this was hot!

💐 = thank you for sharing this

🍵 = tea spilled

🍬 = so sweet and fluffy!

🚔 = you’re under arrest! the writing’s too good!

😲 = I NEED THE NEXT CHAPTER

😢 = you got me right in the feels

🤯mind blown

🤬god damn cliffhanger

😫 whyyyyyyy?!?!? 

[writerseven]

Im physically holding myself back from sending all the reader ask emojis, but how about: 😍🤷‍♀️🏆💏😭

(from these asks)

😍 What is your favorite fic trope?

If we’re sticking to Dark Content Brand TM here, then listen...I just never stop coming back to ‘bruce wayne is an abusive parent and also probably fucks his kids’. Delightfully horrible. Extremely excellent. Nudge Bruce just sliiightly to the left and he becomes the worst parent ever, while keeping most of his characterization.

And the endless options to chose from in which kid(s) he hurts and how! and how they all interact based on that! and who finds out and when! and what pieces of canon I can take and shift slightly to fit this new backstory, or not even have to shift at all!

At any given time, I am having three new ideas about bruce being a terrible father.

(If we’re going in the more general sense for tropes, then I just love extreme angst with a happy ending. I want my faves to be okay eventually but they gotta hurt first.)

🤷 What thing that your fandom loves do you just not “get”?

sdfghjk I could list so many little peeves and bits of fanon characterization that I Do Not Jive With and could probably do a whole ask meme about just that. But for now I will just say I’m not that into a/b/o! For reasons unclear to me, it seems super common in the DC fandom.

There’s some stuff in there that works for me, but a lot that doesn’t: I’m not personally into some of the common kinks involved, a lot of times I feel like characters have the entirety of their interesting characterization stripped away for very flat ‘big rough alpha’/‘whimpering weak omega’ archetypes (and ‘beta’ meaning ‘the writer does not care about this character’), and on occasion I feel like the playing with gender and fantasy worldbuilding just loops right back around to barely-modified old-school misogyny in a way that bugs me.

I definitely have enjoyed some PWP a/b/o fics nonetheless! But when I think of the one or two a/b/o fics that I found genuinely interesting and compelling as more than just horny content...I think they’re all deconstructions of the trope lmaosdgfhj. To each their own! But, yeah, I don’t really get it. 🤷

🏆 What do you wish more authors in your fandom would write about?

also so many things, and I could really just @ myself for half of these. (you all are permitted to yell at me to write any of these things.) More comics!titans content, especially the fab five! More terribad luthor/superman content where lex luthor is the horrible man he was meant to be! More terribad Tim/Ra’s, because for a dark pairing that seems to get talked about a lot, there’s really not that much actual dark fic for them! More preboot Roy Harper! More Cass and Steph and Barbara included in the batfam, and less Bruce-And-Four-Boys-Only. (I know I said I wasn’t going to lists peeves on the last question, but I get to slip in one, okay. The new52 and following reboots distorted so many things, and I think one of the worst things it did batfam-wise was convince everyone the batfam is Bruce And Sons And Maaaybe Barbara.)

Also, just in general, I think we could all stand to go back to the source material a little bit and draw from there again. (I definitely include myself in that!) It’s so so easy to just ping pong the same concepts back at each other, but sometimes I feel like we’re stagnating without new ideas. Some of my favorite (mostly not dark) fics I’ve read are really clearly pulling from distinct comic refs, and it lends a grounding and history to the characters that I really enjoy.

💏 Who is your OTP?

You know, I wrote like five answers to this question before realizing that I just don’t think I can answer it. Honestly, it’s very rare for me to strongly ship anything in the sweet/romantic sense. Technically I could say RoyDick for this because they currently are one of those rare cases (and when I was reading NTT I really did love DickKory), but that feels misleading because I rarely-to-never seek out shipfic. I mostly go by individual characters I’m invested in!

When it comes to darkfic (because that is what I made this account for), there are some classic combos that work well--Slade/Dick, Ra’s/Tim, Bruce/all his children--but still, I go a lot more for “which character do I want to see cry today” than seeking out pairings. I do get excited every time there’s a new BruTim darkfic posted!! But, still, I feel like that’s more “I want to see Tim cry in this specific way” than something I’d classify as an OTP. Character >>>> Ship for me every time.

😭 Has a fic ever left you inconsolable?

Sometimes I read a fic where everything is awful to the bitter end and ends hopelessly, but I find myself consciously pulling away from those fics when I sense where they’re going specifically to avoid this. Which I guess implies the answer to this is a firm yes before I learned to do that, but GOD if I can remember which fics they were.

(The only fic I can remember atm that made me uncontrollably cry is ‘the gentle sin is this’ which is actually a largely sweet fic that ends on a decidedly happy note! and also is a neither dark nor taboo roy/dick fic that in no way resembles any of the content anyone here followed me for! so do what you will with that ig????)

Thanks so much for the ask!! Feel free to send others if you want ♥

[monkey-network]

Good Stuff's Best of 2019

WARNING: Just wanted to say cheers to you for making it through another year. I send you best wishes for next year to be fruitful. Thank you, take care out there, and enjoy. (Best of 2017) (Best of 2018)

Dedicated to Russi Taylor, John Witherspoon, Rip Torn, Tartar Sauce, Caroll Spinney, Peter Matthews, and the many of KyoAni lost in the arson incident. You all did wonderful; rest in peace.

Welp, I figured the last year of this decade would be the most chaotic one by far, then again everything peak after 2012. As for now, I am counting down the best cartoons/animations/comics I’ve seen and loved this year in no particular order other than #1. Same rules apply: No sneak previews of future projects, no repeats, and this time anything goes.

Runner Ups: Superman Smashes the Klan, Marvel’s Aero, Infinity Train, Enter the Florpus, Amphibia, Mao Mao: Heroes of Pure Heart, Helluva Boss, Meta Runner, Lego Movie 2, Forky Asks a Question

Anyways, Badda boom bang whiz, let’s do this shizz...

10. Super Mario Bros GT

Nostalgia can be quite a mystery, especially one that can come out of nowhere. Super Mario Bros Z kicked so much ass as a kid that now, it still frustrates me to this that it got a cease & desist from Nintendo, even the reboot from the same person couldn’t last long. But the gods have offered a slight miracle in the form of this new spiritual successor that has heart and soul put into every pixelated frame. There is much to celebrate with Youtube animation, where many say it’s dying due to the algorithm and all of the site’s corporate bullshit, but it’s stuff like this which helps me understand why we should celebrate. Against all odds, channels like Smasher Block willfully put their works out their for the people and continues to because on top of getting a little dough, it’s what they want to do.

9. DC SUPER HERO GIRLS (2019)

Awwwwww yeah, this is She-Ra and the Princesses of Power done right. Diverse female squad, each given a quality screen time to truly shine (Beecher especially) on their which makes the episodes where they’re all together feel earned and joyous to watch. Certainly reminds me of Friendship is Magic, which is coincidental since they were created by the same woman. I’d like to think this and MLP G4 were the answers to Faust’s cancelled project Milky Way and the Galaxy Girls where multiple personalities collide to one extraordinary superhero team of girls capable great feats that are lifted from their insecurities or drawbacks. And on top of this being a fun series to kick back to all around, it’s a comforting, somewhat aspiring thought to consider.

8. JOKER

I am somebody that rarely goes to the theaters to watch a film; you have to hook my tight just for me to even think of buying a ticket, no less plan to. But honestly, Joker was worth the hype, the ticket, and the fact that it wasn’t the incel uprising that buttfuck normies tried to make it out as. It’s lower on the list because in thought, there definitely could’ve been some tweaks to the dialogue and a couple scenes that I felt didn’t work in the long run. But really, this movie to me worked because of the escalation that leads to a cathartic climax and ending that left me in actual tears. I don’t give a shit if it “doesn’t fit”, having Frank Sinatra sing the film's credits put me in shambles. Joaquin Phoenix was phenomenal as Arthur, and this movie felt authentic in its many details. This is definitely up there with my favorite comic book films of all time. Good thing, too, Spider-Man was taking up most of that shelf.

7. TUCA & BERTIE

This series being what I can’t help but say is a spin-off to Bojack Horseman, a show I respect, was enough to pull me into watching it. But it being like Bojack where it’s tight-roping between a bouncy comedy and a grounded drama was what kept me around for more. It is a damn shame this was cancelled after one season (while 13 Reasons Why gets FOUR seasons like what the fuck), because while this did feel enough like a complete series, I was certainly interested for more because I really enjoyed it all. I have my issue with a couple choices in the show, but I am sure this series would’ve addressed them later down the line. I can see why some women would find this personally endearing, it felt like the personal stories of actual people, and it deserved better. Either way, I enjoyed this series and I recommend it just as much as Bojack.

6. PRIMAL

Genndy Tartakovsky is that kind of cartoon creator where you feel he’ll go beyond if you give him the right amount of space. He’s not a perfectionist like John “Dirty Diddler” Kricfalusi, but with things like Hotel Transylvania and Samurai Jack, he certainly has proven to have the range in animation where you know how he plays. Primal showcasing his noted skill in dialogue-less storytelling and dynamic action scenes, able to convey everything clear with its ruthless yet careful protagonist and his dinosaur friend, all on top of the most luscious backgrounds. This is a series that definitely feels like Genndy’s taken what he’s used from his previous works and putting it together for a brutal yet passionate look at the prehistoric life. He truly brought us an adult series to enjoy and to look forward to more in the coming year.

5. SPINEL

Bet you didn’t expect a character to be on this list, eh? Spinel is the best thing to come out of Steven Universe in general; makes me wish she was in a better movie. The crew certainly did their darndest to make her not only an enjoyable and connectable character through and through, but a very versatile character that the fandom could take in any which way. Call it corny, but Spinel perfectly represents SU as a whole: a lovable goof that can certainly mean business but deep down is deserved of a hug because of what she’s gone through. Wish she had a more satisfying resolution in her respective debut, but really it’s the balance between those three elements mentioned that makes Spinel almost eternally wonderful.

4. MOB PSYCHO 100 II

As someone that doesn’t like reading, I’m a firm believer that the best animations or visual medias elevate the writing to a memorable degree; the visuals hook to the point where you want to think about what you saw and how it was conveyed. Mob Psycho 100, for two seasons now, does this in spades where Studio Bones throw them bones in animating one of the most dynamic animes of the modern era, providing the writing and characters a proper chance to flex its muscles. The characters are especially what makes this and MP100 as a whole work so well, the story being about a boy learning to be more sociable as well as emotionally stronger all while helping others understand maturity and empathy. For more on this, I recommend Hiding in Public’s video(s) on Mob. But with the animation, Bones was able to provide a sense of impact and immersion to the moments that matter, not making it an overstimulating mess, and putting some respect on ONE’s webcomic art style. 

3. KLAUS

Hands down, this is a great Christmas movie. Take away the animation and you have a charming, wanna say ground and authentic, story about the makings of Santa Claus. With memorable and likable characters, a nice escalation in terms of the plot, and moments that are/can be so satisfying, they can bring you to tears. A couple overdone tropes in the road that doesn’t make this the most perfected story, but those sincerely minor compared to everything else that makes this story the best. Now. Add in the animation, and you have a gold, nay a platinum animated story of the year where the visuals definitely enhance the story to a degree where they’re undoubtedly inseparable. The visuals alone is enough to check this movie out and it’s eye-opening when you learn of how it’s all done. Klaus is a film that did it’s job and then some, and I hope this will be well remembered as a classic holiday film for it deserves that status.

2. BEASTARS

I’ll be fair, I’m mostly referring to the manga and not the anime but since the anime premiered this fall, it counts. Because be it the anime or the series overall, Beastars has such well intricate world building all while offering a little something for everyone (violence, romance, slice of life). The story is well paced and even when we aren’t focusing on the main characters momentarily, Itagaki is surprisingly able to make every supporting/side character we come across memorable in their own way; like I said before, the city is much a character in this story. Oh yeah, and the mangaka is the daughter of Keisuke “Grappler Baki” Itagaki, that in itself is a treasuring bit of trivia for this. Everything about Beastars is enticing and Studio Orange certainly helped in giving this series more of a following.

1. GREEN EGGS & HAM

Well, well, well. Guess Netflix is three for three in terms of bringing its best foot forward among its few steps back each year. The best term to describe this series is surprising. Surprising that this is a Dr. Seuss story that got expanded a 13 episode series, that has fleshed out characters, fun hijinks, an easy story, lovely emotional, more quieter moments... on top of being 2D hand drawn animated. I mean, what else is there to say? Green Eggs and Ham is to Dr. Seuss what Seven was for Final Fantasy, what Friendship is Magic was for MLP, what watermelon was before a nice menthol cigarette. This definitely took the top spot because to me, it was able to bring many good elements from the previous entries and knot it all together into a well kept bow that I never knew I wanted until now. I’m genuinely glad this show got to exist the way it is and I am hoping, praying, that the second season keeps that momentum up.

That leads us to the actual number one which is

1. STEVEN UNIVERSE FUT-

Total Dramarama is now the two time World Heavyweight Champion, babey. Will 2020 give us a quality contender? Will the streak last another year?

Stay tuned, and always seek out the Good Stuff.

[crimenight-a]

ONE OF THE MOST FAMOUS ATTRIBUTES ASSOCIATED WITH BATMAN is his seemingly uncaring    &    stoic nature.    it’s also one of the generalizations i openly despise;    the more recent batman media has shaped our understanding of his person in the wrong way.    while i agree that he does seem cold at times,    it’s not for the reason most people immediately think.    so,    in this meta,    i’m going to walk you through bruce’s story    &    explain why he is the way he is.

first,    i want to address the general perception concerning his emotional state.    readers/watchers,    alike,    think bruce’s apathetic nature is related to his trauma.    they’re only half right,    for it did indirectly lead him to change his outward expression of self,    but it’s not the direct reason.    even characters in the DC universe comment on bruce’s apparent lack of distress-like emotions:

❝   your ward    &    my daughter are in mortal danger !    indeed,    batman, they may already be dead !   yet you show no signs of agitation–   nor do you exhibit any curiosity concerning my humble self !    have you no feelings ?   ❞                                                                                                                                    -- batman (1940) #232

ra’s al ghul says this upon meeting bruce for the first time    &    enlisting his help in saving his daughter,    talia al ghul.    we see many variations of this repeat with superman,    wonder woman,    green lantern,    the flash,    &   many more.    so,    it’s not only the general public in our world that thinks batman doesn’t feel anything,    that thought process is also preserved in characters from within DC’s universe.    another type of media that’s to blame are the comedic types.    there’s so many cartoons    &    comics that depict a younger bruce to be very stoic    &    cold,    batman’s voice    &    intimidating nature are ridiculed by many heroes   (  i’m looking at you,    mcu tony/peter   ).   i won’t deny that these moments are very funny    (   especially when DC retaliates like in that batman lego movie where batman screams ‘IRON MAN SUCKS!’   ),   but in actuality,    it still adds to this prevailing idea that he really feels nothing.    i won’t lie   &    say i thought differently before i made this blog,    because i didn’t.    much to my surprise,    however,    it only took me a few issues from detective comics/the original batman run to understand that we’ve been wrong all along.

you may now be asking,    ‘if he’s not truly uncaring,    then why does he act like he is ?’    well,    let me point you to this single issue that i wish i could have every one of these new writers that dc hires read,    it’s detective comics’ (1989) second annual issue    (   if you’re interested,    you can read it here !     although,    a quick warning that this issue deals with the K/KK    &   it’s displayed as such on the cover;    be careful if you decide to read   ).   it follows a young bruce,    only seventeen    (   already quite buff    &   skilled,    might i add   ),   who asks to shadow a famous detective in what i believe is rural new jersey.    harvey harris was hailed to be one of the greatest detectives on the east coast,    there was nothing he couldn’t handle.    at that point,    bruce didn’t really know how he was going to go about waging a war on crime    (   he juggled with options like the FBI,    GCPD,    district attorney,    more legal positions   ),   but he knew detective work was something he’d probably have to do no matter what he chose.    so,    he sent a letter to harris,    asking to shadow him under the name frank dixon,    harris accepted with a warning that the case he had on his hands was incredibly violent    &    horrific.    throughout this issue,    we see many instances where bruce lets his emotions get the better of him    &    it ultimately leads to harris’s demise    (    indirectly,    yes,    but this is a pattern in bruce’s story.    if he did just one thing differently,    he could have saved his parents,    harvey harris,    &    COUNTLESS more people.    the fact haunts him to this day    ).   bruce    &    harris eventually track down the person who has been killing people in that small rural town,    &    he sees that he’s in the process of another murder.    i’m sure you can guess what bruce did,    he screamed    &    lunged for the man in a hot flash of rage,    the man pulls a gun.    bruce knocks him out in one swift punch,    but the gun still goes off    &    it, unfortunately,    hits harris.    in his dying moments,    he tells bruce something that sticks with him still to this day:

❝   i never tried to teach you detection.    you already got the mind for it.    but when you let your emotions take control,    you just go blind.    i don’t know where you’re headed from here,    bruce,    but wherever it is,    remember…    you gotta control that anger.    when you get that into your head– really know it– then ol’ harvey will have done right by you.   ❞                                                                                                             -- detective comics (1989) annual #2

harris had been commenting on bruce’s anger for the entire time they’ve been together,    &    we can really see how bruce struggles with understanding his own emotions through his many warnings:

❝   nice spottin’,    by the way.    now,    if we could just do somethin’ about that temper..   ❞ ❝   son,    it’s rare i see a man who carries such rage so close to the surface.   ❞ ❝   harvey was right.    because i was a hothead..  ❞    (   bruce says this   )

the thing is,    bruce had been incredibly polite to mostly everyone.    the only times he lost his cool is when people didn’t cooperate with him    &    harris on the case,    or if they made fun of him for being a “pretty,    city boy.”    most of the time,    harris had to physically hold bruce back from doing something he’d quickly regret,    such as picking a fight with grown men twice his size    (   i would like to proudly add that bruce beat these guys shitless,    but they trashed his fancy red porsche :/   ).   i know i’m spending a lot of time on this single annual,    but it’s SO important when you realize that bruce really does have anger management issues to the point where he can’t hold back his own outbursts.    let’s compare that younger bruce to the one we know today,    there’s quite a stark difference,    isn’t there ?   the batman we’re familiar with would never jump into anything without thinking about it many times over.    that’s because bruce took what harris said to heart,    &    he worked damn hard to implement his advice:

❝   i had a crazy hate,    too.    but unlike carr,    i refused to let it blind me to reality.    to the truth.    i went over the entire case eleven times,    in each instances extracting more    &    more of my emotional involvement.    &    on the twelfth pass through–a coldly logical pass–i saw what had been bothering me.    &    i knew that it wasn’t over.   ❞                                             note: carr is the murderer that bruce lunged at    &    the one that killed harris.

for us,    removing our emotions    &    thinking about something logically can range from being impossible to incredibly difficult.    imagine,    then,    the mental strength bruce,    a boy who had always been obnoxiously transparent with his feelings,    had to exert in order to go through this case without feeling some immense distracting rage    (   this ties into one of his character’s core ideas:    batman’s will/willpower is insurmountable compared to even other superheroes    ).   he eventually found out that carr was nothing more than a human weapon that someone else had been manipulating,    but the point is:    bruce realized through this issue that he wasn’t good at solving cases because he could never separate his own emotions from the victim’s.    from then on,    he tried his best to be “coldly logical” with every case he comes across,    &    he eventually adopted this state of mind when he was in the batsuit regularly.    being batman requires a ridiculously high amount of awareness    &    general perception.    if he’s constantly angry    &    jumping to rash conclusions,    he’s not going to last long.

however,    this doesn’t mean that bruce doesn’t slip up    &    let his emotions get the best of him even as an adult.    one of the most apparent examples of this is when jason dies.    i think most of us know how terrible that was    &    how bruce blames himself.    in order to keep this meta from getting unnecessarily longer,    all we need to take away from that arc is that bruce quite honestly drowns with guilt because if he had chosen to go after jason instead of go after someone else,    jason would still be alive.    with that anger directed at himself    &    at the world in general,    he recklessly starts to fight anyone he sees while in the batsuit.    even petty criminals would be beaten within an inch of their lives,    he’d make mistakes that he never did before,    &    come home with horrible injuries.    he had no sense of self-preservation,    all he cared about was his anger    &    guilt.    notice how throwing caution to the wind puts bruce in considerably more danger,    thus this supports my point that bruce struggles with his emotions,    but learned to suppress them for the sake of helping    &    saving people.

it actually surprises me when people don’t seem to realize that bruce is empathetic almost to a fault.    he holds onto hope,    &    he always had,    even if it’s foolish to do so.    hope that someone is still alive,    hope that someone still had good in them,    hope in his own abilities.    there was once a case where the entire bat-family understood immediately that a boy had killed his own parents,    but bruce clung to the hope that maybe it wasn’t him,    maybe it was some other greedy politician or hired gun.    bruce knew he was wrong    &    that he was chasing essentially no one,    but the sheer hope that the boy was innocent kept him going in circles.    i wholeheartedly believe that bruce is an empath,    someone who is incredibly sensitive to another’s emotions,    with how quickly he understands how almost everyone feels.    there are times where bruce will show compassion before he shows anything else.    yes,    he aims to scare people with his dramatic antics:

❝   gotham city is hell.    we are all in hell.    &    i am the king of hell !   ❞                                                                                                      -- batman: legends of the dark knight #6

but the purpose of his promise was to make sure nothing like what happened to him ever happens to someone else again.    i’ve said this before,    &    i’ll say it again:    BATMAN IS A GLORIFIED BABYSITTER.    really,    scarecrow said this    &    i stole it from him,    but he wants to care for his city.    that’s why he funds all these free health clinics throughout gotham,    it’s why he opened new soup kitchens    &    funded existing ones.    he revolutionized gotham’s orphanage system,    he forced wayne enterprises to make new jobs,    he single-handedly dropped gotham’s unemployment rate by a substantial amount.    he hands money    &    opportunities to struggling families,    he sits with them    &    helps them through their pain.    he does all of this against his playboy persona,    i remember how most of gotham was confused when he was starting his charity projects since he was immediately said to be ignorant or even uncaring towards gotham’s poverty    &    crime issues.    he started the ‘rebuild gotham’ project(s),    he funded arkham.    he’s in active member of the gotham’s    &    new jersey’s political scene,    influencing massive changes.    his infamous ‘no killing’ rule can be attributed to the fact that bruce doesn’t know what led someone to doing the horrible thing that he’s chasing them for;    HE TRIES TO SEE THE GOOD IN EVERYONE.    i know that comes as a surprise,    mostly because bruce openly despised superman    (    despite clark being one of the kindest people anyone has ever met    )    in that batman v superman movie,    but this blog has never taken any inspiration from those films,    so we’re going to ignore that    &    i ask you to do the same when you’re referencing my portrayal.

bruce would never go to such lengths to bring gotham back from its dark days if it wasn’t for how much he cared for its people.    &    he wouldn’t care at all if he seemingly felt no emotions.    yes,    a part of him doesn’t know how he’d deal with his trauma if he hadn’t passionately pursued something like this,    but that doesn’t take away from the fact that bruce is a fundamentally compassionate man.    the way he takes care of the victims in each case,    personally comforting them    (    hugging, etc.   ),    accommodating them in any way he can.    there’s times where he gets so angry after seeing certain victims,    that he finds it hard to control himself even after decades of training his willpower;    THAT’S how vehement his emotions are.

seeing the good in everyone    &    personally feeling everyone’s pain are both very emotionally taxing traits,    &    he doesn’t suppress these qualities.    he allows himself to feel guilt    &    practice empathy because it keeps him going when all he wants to do is collapse.    bruce has never denied feeling emotions,    he never does it to intimidate his allies,    he just has a harsh way of looking at things because,    again,    he removes his own feelings from the mix.    most other superheroes,    like in the justice league,    sometimes marvel at how bruce almost never gives into his anger during important decisions.    i keep repeating my main points    &    this is all quite the speel,    but it’s INCREDIBLY IMPORTANT that you understand that bruce has never not felt his emotions just as strongly as everyone else,    if not stronger.    to end this off,    let’s see what bruce said in response to ra’s al ghul’s earlier question    (   this is something i find that summarizes what i’ve said in this meta really well    ):

❝   plenty of them !    but it won’t do me any good for me to allow my emotions to gain control…    not while there’s a job ahead !    for years,    i’ve trained myself to concentrate on the thing at hand–    later,    i’ll cry…    if i must !   ❞                                                                                                                                 -- batman (1940) #232

&    because i know how hard tumblr’s tiny font is to read,    here’s a link to this same meta, but on google docs !   read whichever version you want !

[davidmann95]

I haven't been able to tolerate a comics news site since ComicsAlliance shut down so what news out of SDCC is actually worth knowing about?

I’ve gotten so many questions regarding SDCC-related news that I figured I’d just do one big post, and this seems as opportune an ask to build that off of as any. To kick off, in terms of news that’s not for me but is a big deal, there’s a trailer for the next season of Doctor Who, and Star Wars: Clone Wars is shockingly coming back for a final reduced season years after the fact. Congrats to the fans of both franchises! Plus yesterday we got the announcement of Orlando and Foreman’s Electric Warriors for DC (as well as Orlando’s Dead Kings with Matt Smith at Aftershock Comics) and the Wonder Woman/Justice League Dark October crossover.

So first and foremost in terms of the reaction it picked up, OH MY GOD:

It’s like the Bat In The Sun team handed over their production to their shitty kids but made them work off a third of the budget. I kept seeing the jokes about it on Twitter, and I kept thinking they were surely hilarious exaggerations, AND NOT A ONE OF THEM EVEN SLIGHTLY WAS. At least it now makes sense why Hawk and Dove is here, given the Liefeld connection: this is 90s as helllllllllllllllllllllll, and while a part of me hopes it swerves unexpectedly in a couple seasons into Fun 90s DC with Starman and Wally West and an Electric Blue Superboy and Titans One Million, I can’t pretend I wouldn’t gleefully hatewatch this if it wasn’t behind a paywall. What it really comes down to is that, as I saw someone mention, the over-the-top content warning at the beginning isn’t actually by any means to get rid of anyone under 18, but specifically to appeal to them over anyone over it: there is nothing about this show not precision-crafted to appeal to teenagers watching something they technically aren’t supposed to, since anyone older than that will just laugh until the stars grow cold. And while it’s one line in particular that’s rightfully drawn all the attention, to me the clear defining moment is Beast Boy taking his big goofy dramatic leap, and you expect him to transform, but that ain’t happening (I fully expect he’ll just have claws and growl and do assorted Wolverine shit instead), because that kind of thing is for STUPID KIDS, whereas this is RAD. 

RAD, dare I say…to the EXTREME.

Also, the pilot Robin’s scene was presumably drawn from was written by Akiva Goldsman, Greg Berlanti, and Geoff Johns. So was it the guy behind Batman & Robin, the guy behind the CWverse, or the recent President of DC Comics who ushered FUCK BATMAN into the world? Because all three of those possibilities are equally hilarious. In any case, the rubicon has been crossed: easily one of the top ten, probably one of the five or so most iconic superheroes of all time said fuck in a piece of mass media. Where we go from here, nobody knows. But at the very least I’ll take the L for my original certainty that this would take place in the CW DCverse, because that clearly isn’t going to be the case. Though boy, imagine if it was. Personally I like to imagine this is a totally normal DCU, and suddenly going full 90s and murdering a bunch of people is their universe’s version of normal teen rebellion.

Additionally, it’s now seemingly set in stone that the fourth DC Universe live-action show alongside Titans, Doom Patrol, and Swamp Thing will be a Stargirl show where Courtney Whitmore learns about her legacy and tries to track down the Justice Society, described as in the flavor of Superman ‘78 and Wonder Woman. Again, if it wasn’t behind a paywall I’d check it out.

And before turning to comics proper, we learned from WB itself that there are no plans to idiotically pour millions into making a functional Justice League Snyder cut a thing, unsurprisingly making some of the worst people on the internet be just the absolute worst (I’m interested myself in it artistically even if I don’t think it would be very good, but at this point it would feel like a validation of some really rotten people’s behavior if this happened). Meanwhile the first trailer for the Dragon Ball Super movie dropped, and yeah, I’m still happy to see Broly. This looks big in a way Dragon Ball for all its action rarely gets, and seeing Paragus suggests Toriyama understood what worked about the original flick, which is a very good sign. Did they swap out Vic Mignogna as Broly though? Wouldn’t blame him, I know he’s said he hates the part, but surprising nonetheless. And the Spider-Man game dropped another trailer, along with a ‘Velocity’ bonus suit designed by Adi Granov.

The big comics news of the day was of course the long-awaited confirmation that Green Lantern is being relaunched - apparently as The Green Lantern - in November by Grant Morrison and Liam Sharp. What’s surprising is that Morrison’s currently insisting that since the last decade or so of the franchise has dealt with constant upheaval and cosmic apocalypse, his run is going to scale back down to a character-focused study of Hal (“He’s a loner and a drifter and he’s an unreconstructed man. It was nice to do that and to go a little bit old-fashioned with it. He doesn’t belong here at all, you know? He’s longing for the heavens, and to be back up as a Green Lantern. We’re doing Hal Jordan where, you know he’s a good cop, but is he really a good guy? And we’re looking into his relationships and how he deals with people. And also the fact that, if you’ve got a job as a space cop, it’s hard to be stuck on the planet Earth. He has other lives on other planets.”) amidst him going about his duties and dealing with weird alien crimes and space threats, such as stopping aliens from ‘parking’ a planet-sized artificial megastructure near a sun and causing damage to nearby worlds, and solving the murder of a gaseous lifeform.

I doubt it’ll necessarily stay there forever - his Batman and Action Comics runs, after all, were both initially marketed as staying on the smaller side by his standards, and the one idea we know of Morrison having once had for the Green Lanterns back in the day was making them a multiversal force. But it’s remarkable how, well, normal this sounds coming from Morrison. Clearly this must be a passion project if he’s doing a monthly again for the first time in 5 years, especially since DiDio mentioned he had to be persuaded (ultimately persuading himself as his attempts to brush off the proposition led to him thinking about the possibilities and rapidly talking himself into it) to make time for this amidst an incredibly busy schedule of surely more profitable and creatively unshackled projects, but on the surface level? This sounds like the closest Morrison has come since his JLA days to writing a regular superhero comic. At this point in his career, I’m very, very curious what that’s going to look like. Just hoping he read the King/Shaner oneshot on whatever reread he surely went through to catch up on current continuity. And also hoping this guy was right that it’ll turn out “the REAL construct that was limited by our willpower and imagination all along was…REALITY.”

On smaller notes:

* Kelly Sue DeConnick and Robson Rocha are taking over Aquaman, with an opening arc that shows him washing up amnesiac on an isle of forgotten sea gods. DeConnick seems to be like the Jeffs Lemire and Parker where my appreciation of their work is limited to very, very specific slivers: none of her Marvel superhero stuff I’ve read did anything for me even if I could see the talent behind it, but her Lois story in the last issue of The Adventures of Superman was pitch-perfect (and also had a great Aquaman bit!). This gets at least an issue from me.

* DC announced new titles for DC Ink and DC Zoom, including Cassandra Cain, Oracle, Dick Grayson, Creeper, and Wonder Woman books, while also announcing some artists for the existing titles.

* Geoff Johns is doing (ugh) Shazam with Dave Eaglesham, who showed off a really great, fun cover suggesting the possibility of a tonal shift away from Johns writing the absolute worst version of that character imaginable. On the likelihood of said possibility though, I think @intergalactic-zoo put it best. I might just check it out in trade if word of mouth is overwhelmingly positive, but then, lots of otherwise rational people liked or at least saw merit in his original crack at it with Gary Frank, and you were all deliriously, impossibly wrong back then, too.

* And finally, speaking of Johns, he’s doing Batman: Three Jokers as a 3-issue mini with Jason Fabok, a smart move given that is precisely as much as I’m willing to invest in this out of morbid curiosity. What’s really baffling though is that it’s being released under Black Label. It would seem to destroy the stated purpose of the line by immediately releasing Very Important Continuity Comics under it, but maybe this means Batman’s gonna follow in his protege’s footsteps and say a fuck. Anyway, I’m mostly just hoping it isn’t revealed Fun Golden Age Joker is actually not the original in order to rub out the prospect that he was ever truly anything but a terrifying sidekick-butchering murder machine at the center of very serious stories, because that feels to be like a real possibility. And absolute no question one of the three is gonna turn out to be the lost child of Marionette and Mime in Doomsday Clock.

[annstage]

Interview s Devin K. Grayson

Stává se vám, že při čtení komiksu byste se rádi autora na něco zeptali? Šance jsou, že si sednete a najdete společnou řeč. Jak jinak, když jsme nakonec všichni fanoušci. Dostaly jsme možnost vyzpovídat Devin K. Grayson, autorku mnohá komiksů, které určitě znáte a máte rádi. V krátkém rozhovoru, který nám ochotně poskytla se dozvíte více o tom, jak si zachovává přehled v časových linkách během psaní nebo, co si myslí o zobrazování skupinových menšin v pop kultuře. Rozhovor jsme nechaly v původním anglickém jazyce.

CZ: Devin se ke komiksům dostala po zhlédnutí animovaného Batmana, který na začátku 90. let běžel v televizi. Následně se v komiksovém obchodě začala více zajímat o svého jmenovce Dicka Graysona, známého též jako Nightwinga. Práci pro DC dostala po ustavičném volání a zasílání svých děl. Potom už následoval zájem o psaní o členech Batman rodiny, o Nightwingovi a je autorkou dalších již světově známých titulů. Devin je otevřeně bisexuálkou.

Mezi její nejznámější tituly patří Nightwing, Gotham Knights, Vampirella, Nightwing - Huntress, JLA/Titans, User, The Titans a další

EN: Devin got to comics after watching Batman: The Animated Series in early 90s. Following that event she went to explore to her local comics store to find more about Dick Grayson who she shares the last name with. After bombarding DC company and calling them to see her works, she finally got the position of a writer for this huge publisher. She enjoys writing about the Batman family, Nightwing and many other notable characters in comics. Devin is also openly bisexual.

Her notable works include: Nightwing, Gotham Knights, Vampirella, Nightwing - Huntress, JLA/Titans, User, The Titans and more

Timelines. What was your way of dealing with confusing comics continuity? And especially within the Bat-verse? I hope this isn’t disappointing, but to honest I no longer follow DC continuity at all.  In the past I’ve compared leaving a comic series to breaking up with a lover; you hope they’re doing well, but you don’t really feel the need to check up on the details of their continued existence without you. ;-p When I was actively working in Gotham, though, I relied on a combination of extensive background reading, informal updates from friends (about what they were reading) and colleagues (about what they were writing), and sheer force of will. By sheer force of will I mean that to write in the Batman universe -or in any established fictional realm, really -you need to have a clear vision of the world and the characters moving through it. And that means that if you have to, you ignore anything that doesn’t fit into your vision. My preferred method of working on franchise characters is to do what I like to call a deep dive. Before I start writing, I read everything about them I can get my hands on, including academic analysis and summaries. Inevitably, I’ll find something that grabs me - with Batman it was his relationship with the first Robin, the idea that he was as driven and dark and scary as he was, but was also raising a kid. For the Doctor Strange novel I wrote, I started completely cold (I’d never read a Doctor Strange comic when I first got the assignment) but the first thing that grabbed me was the death of his sister. The few times I’ve worked with Superman I spent a lot of time thinking about how he was raised as a farmer. Whatever it is, I let it carry me further into the character’s world and/or psyche and I try to explore facets of it as I write about them. At that point, I’m pulling on previous continuity, but I’m also creating my own, new continuity. Comic readers tend to favor really tight continuity, but you have to remember that you get that at a cost. Every creator comes to the table with their own ideas about the characters and their own references and their own stories, and the more you make them toe the line, the less you’re making use of their uniqueness.  When I started working for the Bat-office, there were several different Bat-books, each with a slightly different take. Batman was for superhero stories, Detective was more mystery/noir , Legends featured contained stories that could fall anywhere in the history of Gotham, Chronicles was more of an anthology and testing ground for newer talent, and when I started Gotham Knights, my explicit intent was to have it highlight the relationships in the primary Bat-family.  To some extent, those books all existed in unique fictional universes, until we deliberately brought them together for crossover events. I mention this because I worry that superhero comics have a tendency to become overly homogenized when everyone has to adhere to a strict continuity.  No matter how great any given writer is, do we really want ALL the comics coming out of any given publisher to feature his language, ideas and storylines? The stories you hear about Batman - all of them - are legends.  Some may be spot on, some may be less than true, but the great thing about fiction is that, unlike reality, it isn’t actually necessary or useful for all of us to agree on what happened. Alternate takes are welcome, which is one of the reasons I’ve always championed fanfic. tl;dr: I learn it. And then I ignore it. ;-p

Can you remember writing some scene or part of a story and being beyond excited of how it is turning out to be? Do you usually anticipate reader’s reactions for something particular that you wrote? Okay, two separate questions here. First: yes, absolutely. A secret about writers is that behind closed doors, most of us suspect we’re talentless frauds and that at any minute someone is going to notice that we’re literally just making stuff up. But at the same time, most of us have a few moments every week, or a few lines in every project, where we stop, grin, and think, “damn, I’m good.” I am probably not supposed to share that secret, and I apologize to my colleagues for doing so, but the thing is…writing is magic. You can study all the craft of it, learn all the structure and all the tools (as you should) and still, there’s a point where you feel like you’re just listening and writing down a story that is coming to you from somewhere else. And when it’s good, it’s such an amazing feeling. It leaves you a little bit in awe. Specifically, the two things I remember are 1) having to stop and catch my breath the first time I wrote the word “Batmobile” in a script I was getting paid for and 2) the first time I saw the art come in for USER, and characters that had previously existed only in my head had suddenly been brought to life by John Bolton and Sean Phillips. Those were both very exciting moments. As for anticipating the reaction of readers; no, I don’t do that. I don’t even really think about the readers when I’m writing beyond, perhaps, the artist (who I want to keep engaged) or editor (who I want to keep happy). I think it would be a little paralyzing - not to mention futile - to try to guess how people will react. You don’t even really know who’s reading it, honestly, which is one of the reasons why it’s really nice to meet readers at conventions. But I’ve always suspected that the best writing comes from writing to and for one specific person - usually a colleague or loved one.

What would you tell to those saying comics are not a real or serious literature and shame it readers for needing to “have pictures to understand the plot”? Unfortunately it is still a case of misunderstanding. Well, first of all, I try to make a distinction between superhero comics, the publishing subgenre, and comics, the medium. Superhero comics are not, if we’re being honest, always serious literature. But comics as a medium is an amazingly complex and diverse form of story-telling that supports everything from newspaper comic strips to literary fiction graphic novels. It’s particularly remarkable for being the most collaborative form of story creation and story consumption available, relying on multiple creators for its inception and relying on readers to actively simulate time, motion and sometimes even events out of the spaces between panels. The best book I’ve ever read on the topic - and one that could make even a hardcore cynic reevaluate their understanding of what “comics” is - is Understanding Comics by Scott McCloud. There are also so many amazing graphic novels out there, from Spiegelman’s Maus to Chabouté’s Alone. Unless it’s not comics they have an issue with so much as superheroes, in which case you can talk to them about contemporary mythology and the power of allegorical story-telling. You’re right, though, that it’s a very misunderstood corner of publishing. I don’t often have people try to tell me it’s not literature, but I can’t count the number of people who have learned what I do for a living and assumed I have a lot of material I can share with their child. The idea that comics are for kids is a throwback to 1950s American marketing. As I’m sure you and your followers know, comics haven’t really been for kids in over five decades. I still haven’t shown my ten-year-old my Batman or Nightwing work and don’t plan to for some time. The last thing I’ll say on the subject is that sometimes people have to be taught how to read the art in a comic. I think people unfamiliar with comics assume that the pictures in the panels are just literal representations of the words, which is rarely the case. Comic fans are actually quite accomplished readers who know how to invest in long stories, detect subtle tensions between artistic and linguistic storytelling, actively participate in moving narratives forward and, of course, engage with huge, complex fictional universes.

Do you feel like there is not enough representation of bisexual heroes/superheroes in comics and pop-culture? We know Diana Prince is bisexual and she never got a canonical girlfriend. Yes, I agree. The LGBTQA population, as a whole, is grossly underrepresented, along with non-heteronormative relationships and non-gender binary individuals. Just this morning, actually, I was told I couldn’t go forward with a storyline exploring a canonically confirmed asexual character joining an asexual support group, because the publisher wanted to play “that angle” down. As someone who is openly bisexual, this distresses me, but not half so much as the appalling underrepresentation of people of color and women, especially considering that both groups each make up more than half the population. As the recent phenomenal success of both the Wonder Woman and Black Panther movies demonstrate, the world is more than ready to embrace corrections to these imbalances, but the people (oh, who am I kidding? Read: white men) who run the engines of pop culture - not to mention literary culture, history, and advertising - are incredibly averse to change. It’s so, so important to see yourself reflected in your own culture, but the presence and participation of women and people of color, not to mention bisexuals, is so deeply biased it’s difficult to fully comprehend the multiple levels of exclusion. It’s hard for me to even talk about this these days because I don’t know where to start. The relentless use of female characters to stimulate growth in male characters? The complete absence of female internal lives in so much of literature? How about just pure invisibility? I remember watching TV one evening and noticing - all at once and with a shock that I’d never seen it before - what I call the gender ratio. The world, according to movies and television shows, consists of one female for every three males. There are exceptions to this, but watch how often it’s true. And of course, it’s even worse for people of color, who tend to appear at about a one to nine white people ratio. Now walk outside. Is that what you see? Of course not, not even close! But we’re so used to the culture we’ve been fed that we hardly notice anything’s amiss when we look at entire fictional landscapes almost wholly devoid of women and POC. What do you think that does to our psyches? To our sense of fitting in in the world? To our sense of, and compassion for, one another? The dearth of bisexual superheroes strikes me as a wasted opportunity to explore organic and complex ranges in human sexuality - great story-fodder, that! - and I hope it changes. But not all superhero stories have to deal with the sex lives of the characters. Every single one of them, though, has to confront both the gender and race of the characters portrayed, and holy f--- do we have a long way to go there.

We were delighted to see the #VisibleWoman going around Twitter earlier this year. Did it prove itself to be useful? What you do you think about this way of using social media to make a statement and make it work? This plays directly into what I was just talking about. It’s so weird to think about, but we are so often literally invisible - in fiction especially, but in the real world, too. As a writer, I spend a lot of time summoning and then editing the default story ideas that come from my subconscious, and once I began to be aware of the issues we’ve been discussing, I was dismayed by how deeply all of that background misogyny had lodged itself - it’s an issue I’m still exploring and excavating today. I grew up hearing people say that women were important and should be treated fairly, but I saw so few of them. They were absent or scarce in most movies and TV shows, whittled down to a small subgroup in literary fiction writing, hard to find in the music world, almost never part of political news or history lessons…I can’t even imagine how different my internal world would be if I’d been exposed to a more balanced cultural tally. So, yes - I do think the hashtag was useful, both as a marketing tool (my single tagged tweet garnered me over three hundred new followers and is now pinned to the top of my account) and as a huge, warm searchlight picking accomplished females out of the crowd. Just being reminded that there are women working in comics and games and STEM and business and politics is enormously helpful. Having a platform available to connect with and support them is that much more powerful. I do have concerns about social media, some quite grave. But #VisibleWoman stands as an example of best possible usage.

And finally, do you keep in touch with your high school or college teachers who taught you English or Writing? Do you think they know you have became a successful author and would they be proud of you? Great question! My answer is multi-tiered because those people - mentors - change and evolve over time. So the short answer is no, I’m not still in touch with any of my high school or college teachers and I doubt they’ve kept track of me. I went to three different high schools and so didn’t form strong attachments to many teachers - the one exception was a Social Living teacher at Berkeley High, Nancy Rubin, who I did stay in touch with for many years after I graduated. She didn’t teach me to write - though she did encourage us all to keep daily journals, which can be a gateway drug to compulsive writing - but she was that special teacher who saw all her students as individuals and honestly cared about our opinions and our struggles and our lives. I was actually still in touch with her when she published her first book - Ask Me if I Care, Voices from an American High School - and I was very proud of her! I’m sure she’d enjoy hearing about my crazy career, but she was proud of all of us, even then, just for being. I didn’t make a strong connection with my college writing teacher, the novelist Mona Simpson, but was crazy about my post-collegiate writing instructor, the novelist Brian Bouldrey, who was still part of my life when I first broke into comics and was enormously tickled by it. Now that you’ve got me thinking about him again, I think I’ll try to track him down again and send him a copy of my Doctor Strange novel. xD In comics, I have three main mentors and I’m still in touch with all of them and know that they’re proud of and happy for me. Overall, the professional comics community is very supportive and full of hard-working people who care about the medium, the characters, the readers, and each other. Thank  you for these great questions and for you interest in my work!

Thank you, Devin! It was a pleasure and we are grateful for your amazing and detailed answers, and of course for your time :)

Rozhovor původně publikovaný na blogu Comics Holky

[comicsholky-blog]

Interview s Devin K. Grayson

Stává se vám, že při čtení komiksu byste se rádi autora na něco zeptali? Šance jsou, že si sednete a najdete společnou řeč. Jak jinak, když jsme nakonec všichni fanoušci. Dostaly jsme možnost vyzpovídat Devin K. Grayson, autorku mnohá komiksů, které určitě znáte a máte rádi. V krátkém rozhovoru, který nám ochotně poskytla se dozvíte více o tom, jak si zachovává přehled v časových linkách během psaní nebo, co si myslí o zobrazování skupinových menšin v pop kultuře. Rozhovor jsme nechaly v původním anglickém jazyce.

CZ: Devin se ke komiksům dostala po zhlédnutí animovaného Batmana, který na začátku 90. let běžel v televizi. Následně se v komiksovém obchodě začala více zajímat o svého jmenovce Dicka Graysona, známého též jako Nightwinga. Práci pro DC dostala po ustavičném volání a zasílání svých děl. Potom už následoval zájem o psaní o členech Batman rodiny, o Nightwingovi a je autorkou dalších již světově známých titulů. Devin je otevřeně bisexuálkou.

Mezi její nejznámější tituly patří Nightwing, Gotham Knights, Vampirella, Nightwing - Huntress, JLA/Titans, User, The Titans a další

EN: Devin got to comics after watching Batman: The Animated Series in early 90s. Following that event she went to explore to her local comics store to find more about Dick Grayson who she shares the last name with. After bombarding DC company and calling them to see her works, she finally got the position of a writer for this huge publisher. She enjoys writing about the Batman family, Nightwing and many other notable characters in comics. Devin is also openly bisexual.

Her notable works include: Nightwing, Gotham Knights, Vampirella, Nightwing - Huntress, JLA/Titans, User, The Titans and more

Timelines. What was your way of dealing with confusing comics continuity? And especially within the Bat-verse?  I hope this isn’t disappointing, but to honest I no longer follow DC continuity at all.  In the past I’ve compared leaving a comic series to breaking up with a lover; you hope they’re doing well, but you don’t really feel the need to check up on the details of their continued existence without you. ;-p When I was actively working in Gotham, though, I relied on a combination of extensive background reading, informal updates from friends (about what they were reading) and colleagues (about what they were writing), and sheer force of will. By sheer force of will I mean that to write in the Batman universe -or in any established fictional realm, really -you need to have a clear vision of the world and the characters moving through it. And that means that if you have to, you ignore anything that doesn’t fit into your vision. My preferred method of working on franchise characters is to do what I like to call a deep dive. Before I start writing, I read everything about them I can get my hands on, including academic analysis and summaries. Inevitably, I’ll find something that grabs me - with Batman it was his relationship with the first Robin, the idea that he was as driven and dark and scary as he was, but was also raising a kid. For the Doctor Strange novel I wrote, I started completely cold (I’d never read a Doctor Strange comic when I first got the assignment) but the first thing that grabbed me was the death of his sister. The few times I’ve worked with Superman I spent a lot of time thinking about how he was raised as a farmer. Whatever it is, I let it carry me further into the character’s world and/or psyche and I try to explore facets of it as I write about them. At that point, I’m pulling on previous continuity, but I’m also creating my own, new continuity. Comic readers tend to favor really tight continuity, but you have to remember that you get that at a cost. Every creator comes to the table with their own ideas about the characters and their own references and their own stories, and the more you make them toe the line, the less you’re making use of their uniqueness.  When I started working for the Bat-office, there were several different Bat-books, each with a slightly different take. Batman was for superhero stories, Detective was more mystery/noir , Legends featured contained stories that could fall anywhere in the history of Gotham, Chronicles was more of an anthology and testing ground for newer talent, and when I started Gotham Knights, my explicit intent was to have it highlight the relationships in the primary Bat-family.  To some extent, those books all existed in unique fictional universes, until we deliberately brought them together for crossover events. I mention this because I worry that superhero comics have a tendency to become overly homogenized when everyone has to adhere to a strict continuity.  No matter how great any given writer is, do we really want ALL the comics coming out of any given publisher to feature his language, ideas and storylines? The stories you hear about Batman - all of them - are legends.  Some may be spot on, some may be less than true, but the great thing about fiction is that, unlike reality, it isn’t actually necessary or useful for all of us to agree on what happened. Alternate takes are welcome, which is one of the reasons I’ve always championed fanfic. tl;dr: I learn it. And then I ignore it. ;-p

Can you remember writing some scene or part of a story and being beyond excited of how it is turning out to be? Do you usually anticipate reader’s reactions for something particular that you wrote? Okay, two separate questions here. First: yes, absolutely. A secret about writers is that behind closed doors, most of us suspect we’re talentless frauds and that at any minute someone is going to notice that we’re literally just making stuff up. But at the same time, most of us have a few moments every week, or a few lines in every project, where we stop, grin, and think, “damn, I’m good.” I am probably not supposed to share that secret, and I apologize to my colleagues for doing so, but the thing is…writing is magic. You can study all the craft of it, learn all the structure and all the tools (as you should) and still, there’s a point where you feel like you’re just listening and writing down a story that is coming to you from somewhere else. And when it’s good, it’s such an amazing feeling. It leaves you a little bit in awe. Specifically, the two things I remember are 1) having to stop and catch my breath the first time I wrote the word “Batmobile” in a script I was getting paid for and 2) the first time I saw the art come in for USER, and characters that had previously existed only in my head had suddenly been brought to life by John Bolton and Sean Phillips. Those were both very exciting moments. As for anticipating the reaction of readers; no, I don’t do that. I don’t even really think about the readers when I’m writing beyond, perhaps, the artist (who I want to keep engaged) or editor (who I want to keep happy). I think it would be a little paralyzing - not to mention futile - to try to guess how people will react. You don’t even really know who’s reading it, honestly, which is one of the reasons why it’s really nice to meet readers at conventions. But I’ve always suspected that the best writing comes from writing to and for one specific person - usually a colleague or loved one.

What would you tell to those saying comics are not a real or serious literature and shame it readers for needing to “have pictures to understand the plot”? Unfortunately it is still a case of misunderstanding. Well, first of all, I try to make a distinction between superhero comics, the publishing subgenre, and comics, the medium. Superhero comics are not, if we’re being honest, always serious literature. But comics as a medium is an amazingly complex and diverse form of story-telling that supports everything from newspaper comic strips to literary fiction graphic novels. It’s particularly remarkable for being the most collaborative form of story creation and story consumption available, relying on multiple creators for its inception and relying on readers to actively simulate time, motion and sometimes even events out of the spaces between panels. The best book I’ve ever read on the topic - and one that could make even a hardcore cynic reevaluate their understanding of what “comics” is - is Understanding Comics by Scott McCloud. There are also so many amazing graphic novels out there, from Spiegelman’s Maus to Chabouté’s Alone. Unless it’s not comics they have an issue with so much as superheroes, in which case you can talk to them about contemporary mythology and the power of allegorical story-telling. You’re right, though, that it’s a very misunderstood corner of publishing. I don’t often have people try to tell me it’s not literature, but I can’t count the number of people who have learned what I do for a living and assumed I have a lot of material I can share with their child. The idea that comics are for kids is a throwback to 1950s American marketing. As I’m sure you and your followers know, comics haven’t really been for kids in over five decades. I still haven’t shown my ten-year-old my Batman or Nightwing work and don’t plan to for some time. The last thing I’ll say on the subject is that sometimes people have to be taught how to read the art in a comic. I think people unfamiliar with comics assume that the pictures in the panels are just literal representations of the words, which is rarely the case. Comic fans are actually quite accomplished readers who know how to invest in long stories, detect subtle tensions between artistic and linguistic storytelling, actively participate in moving narratives forward and, of course, engage with huge, complex fictional universes.

Do you feel like there is not enough representation of bisexual heroes/superheroes in comics and pop-culture? We know Diana Prince is bisexual and she never got a canonical girlfriend. Yes, I agree. The LGBTQA population, as a whole, is grossly underrepresented, along with non-heteronormative relationships and non-gender binary individuals. Just this morning, actually, I was told I couldn’t go forward with a storyline exploring a canonically confirmed asexual character joining an asexual support group, because the publisher wanted to play “that angle” down. As someone who is openly bisexual, this distresses me, but not half so much as the appalling underrepresentation of people of color and women, especially considering that both groups each make up more than half the population. As the recent phenomenal success of both the Wonder Woman and Black Panther movies demonstrate, the world is more than ready to embrace corrections to these imbalances, but the people (oh, who am I kidding? Read: white men) who run the engines of pop culture - not to mention literary culture, history, and advertising - are incredibly averse to change. It’s so, so important to see yourself reflected in your own culture, but the presence and participation of women and people of color, not to mention bisexuals, is so deeply biased it’s difficult to fully comprehend the multiple levels of exclusion. It’s hard for me to even talk about this these days because I don’t know where to start. The relentless use of female characters to stimulate growth in male characters? The complete absence of female internal lives in so much of literature? How about just pure invisibility? I remember watching TV one evening and noticing - all at once and with a shock that I’d never seen it before - what I call the gender ratio. The world, according to movies and television shows, consists of one female for every three males. There are exceptions to this, but watch how often it’s true. And of course, it’s even worse for people of color, who tend to appear at about a one to nine white people ratio. Now walk outside. Is that what you see? Of course not, not even close! But we’re so used to the culture we’ve been fed that we hardly notice anything’s amiss when we look at entire fictional landscapes almost wholly devoid of women and POC. What do you think that does to our psyches? To our sense of fitting in in the world? To our sense of, and compassion for, one another? The dearth of bisexual superheroes strikes me as a wasted opportunity to explore organic and complex ranges in human sexuality - great story-fodder, that! - and I hope it changes. But not all superhero stories have to deal with the sex lives of the characters. Every single one of them, though, has to confront both the gender and race of the characters portrayed, and holy f--- do we have a long way to go there.

We were delighted to see the #VisibleWoman going around Twitter earlier this year. Did it prove itself to be useful? What you do you think about this way of using social media to make a statement and make it work? This plays directly into what I was just talking about. It’s so weird to think about, but we are so often literally invisible - in fiction especially, but in the real world, too. As a writer, I spend a lot of time summoning and then editing the default story ideas that come from my subconscious, and once I began to be aware of the issues we’ve been discussing, I was dismayed by how deeply all of that background misogyny had lodged itself - it’s an issue I’m still exploring and excavating today. I grew up hearing people say that women were important and should be treated fairly, but I saw so few of them. They were absent or scarce in most movies and TV shows, whittled down to a small subgroup in literary fiction writing, hard to find in the music world, almost never part of political news or history lessons…I can’t even imagine how different my internal world would be if I’d been exposed to a more balanced cultural tally. So, yes - I do think the hashtag was useful, both as a marketing tool (my single tagged tweet garnered me over three hundred new followers and is now pinned to the top of my account) and as a huge, warm searchlight picking accomplished females out of the crowd. Just being reminded that there are women working in comics and games and STEM and business and politics is enormously helpful. Having a platform available to connect with and support them is that much more powerful. I do have concerns about social media, some quite grave. But #VisibleWoman stands as an example of best possible usage.

And finally, do you keep in touch with your high school or college teachers who taught you English or Writing? Do you think they know you have became a successful author and would they be proud of you? Great question! My answer is multi-tiered because those people - mentors - change and evolve over time. So the short answer is no, I’m not still in touch with any of my high school or college teachers and I doubt they’ve kept track of me. I went to three different high schools and so didn’t form strong attachments to many teachers - the one exception was a Social Living teacher at Berkeley High, Nancy Rubin, who I did stay in touch with for many years after I graduated. She didn’t teach me to write - though she did encourage us all to keep daily journals, which can be a gateway drug to compulsive writing - but she was that special teacher who saw all her students as individuals and honestly cared about our opinions and our struggles and our lives. I was actually still in touch with her when she published her first book - Ask Me if I Care, Voices from an American High School - and I was very proud of her! I’m sure she’d enjoy hearing about my crazy career, but she was proud of all of us, even then, just for being. I didn’t make a strong connection with my college writing teacher, the novelist Mona Simpson, but was crazy about my post-collegiate writing instructor, the novelist Brian Bouldrey, who was still part of my life when I first broke into comics and was enormously tickled by it. Now that you’ve got me thinking about him again, I think I’ll try to track him down again and send him a copy of my Doctor Strange novel. xD In comics, I have three main mentors and I’m still in touch with all of them and know that they’re proud of and happy for me. Overall, the professional comics community is very supportive and full of hard-working people who care about the medium, the characters, the readers, and each other. Thank  you for these great questions and for you interest in my work!

Thank you, Devin! It was a pleasure and we are grateful for your amazing and detailed answers, and of course for your time :)

A i my velice děkujeme a doufáme, že jste si interview užili stejně jako my!

- Kara

[fate-magical-girls]

Justice League Thoughts

There will be spoilers. You have been warned.

I watched Justice League last night, and while I enjoyed it, I could see some glaring flaws, and I know why it faces heavy criticism.

The movie was slow to start. It took a long time to get everyone in the same place. However, there were lots of action sequences, so it was never very boring. The banter between characters and the one-liners didn’t really bother me until the ending, when I feel the movie could have done better by letting everyone stand back and silent enjoy the sweet scent of victory. The cinematography was beautiful. Like Zack Snyder’s other movies, each shot could be a comic panel. The movie aesthetic was usually dark and gloomy, but it makes the well-lit scenes (Wonder Woman’s rescue of hostages, Superman and Lois on the farm, the ending scene with peace and hope and light restored) all the more precious. However, the CGI fails in some places, especially Henry Cavill’s mouth. Having watched Transformers, the motherboxes made me giggle. Three Allsparks! The Apokolips Invasion also lacks the original Kirby aesthetic, which is a huge disappointment.

I must say, I absolutely hate the idea of adapting the Justice League movie from Geoff Johns’ N52 Justice League origin. Disregarding the fact that Justice League: War, a faithful adaptation of the storyline, gave everyone boring, one-note personalities and changed the team make-up, something as big as the 4th world should not be part of an origin story. The Justice League is young, inexperienced, untried. They have not yet learned to work alongside each other, much less formed the strong friendships that would later guide them as a team. Darkseid and his armies are the greatest villains in the DCU. They are the very incarnation of evil. They are a force of destruction and decay to be slowed but never stopped. And yet the viewer is asked to believe that a fledgling team of misfits can defeat the greatest evil the world will ever know. Either the Justice League fails miserably, or Darkseid must be weakened to allow the Justice League to defeat him. And then? Defeating the greatest villain the universe has as the origin story means that any sequels will an inevitable letdown. What could feasibly threaten a team that has already defeated the incarnation of all evil? In terms of narrative escalation, this just isn’t done. I would prefer having Starro, Dinosaur Island, or White Martians as the enemies for the origin story. Threatening enough to destroy the world, yet still on the same level as a just-formed Justice League.

I generally liked the cast. I thought they had great chemistry. I loved the friendship between them, especially for the big three of Superman, Batman, and Wonder Woman. A little bit on the individual characters:

Wonder Woman: I absolutely loved her. She and Cyborg were among my favorite parts of the team. She is an older and wiser hero, but still idealistic, still loving. She helps Cyborg deal with his pain and serves as Batman’s voice of reason. She and Batman are very close friends, but never romantic (in fact she’s still longing for Steve). The same can be said for Superman. She helps him remember who he is, but it’s Lois who really calms him down. Overall, Batman might have recruited the team, but Wonder Woman is the glue that holds them together. Gal Gadot is a little flat on the sadder scenes, but she’s absolutely fierce during the action scenes and I like that.

Cyborg: Cyborg was perfect. His personality and character arc were very well-done and very comic faithful. He even gives a “booyah.” Sadly he’s interacting with Flash and the Justice League and not Beast Boy and the Teen Titans, but you can’t have everything. His jagged metal shard look is also something I dislike. I would have liked something more robotic instead of Michael Bay Transformers, down to his crotch.However, the action scenes were enough to distract me from Cyborg’s less satisfactory look. He also made the Apokolips invasion plot seem less bad, because Cyborg is a very plot-relevant character. The actor was absolutely perfect, going through Cyborg’s fear and pain and later fascination with his abilities.

Aquaman: OUTRAGEOUS. I think Jason Momoa’s portrayal was okay. The American accent was jarring, since he was very much not in America when he started speaking English. Sadly he was the least developed of the League. It took a lasso around the leg to make him confess his thoughts.

Superman: Now that Cavill isn’t brooding or angry all the time, I can actually see his heavy resemblance to the Curt Swan/Kurt Schaffenberger Superman from the Silver Age comics. Now, I am no fan of Pre-Crisis Superman, but I very much love the art from the comic greats Schaffenberger and Swan. Cavill looked every bit as Superman should be: smiling, brave, hopeful. I loved his appearance during the final fight, when he acted as the beacon of hope. Also great his his resurrection. Diana might have restored his memories by addressing him as Kal-El, but it’s Lois appealing to him as Clark that brings him back to himself.

Batman: Ben Affleck’s Batman is pretty okay. It’s even refreshing to see a Batman who isn’t perfect, who doesn’t have a plan for everything. He makes mistakes and he’s fallible. But he also tries to be friendly with his teammates, cracking dry jokes to Flash and Aquaman and allowing himself to be vulnerable around Wonder Woman. Affleck did great at portraying an older, tired Batman. Besides, he gets the team together. What more can you ask of him?

Flash: Sorry, Ezra Miller fans, but I absolutely hate every single thing about his Flash. To start with, he’s not Barry Allen. He’s a student, not an actual chemist. He’s younger than most of the cast. He’s energetic, naive, and neurotic instead of calm, careful, and meticulous. Barry Allen might be awkward, but he’s also no slob. He’s fascinated by his speed powers, not so scared he only knows how to push people. Barry admires his fellow heroes, but he doesn’t worship them like a fanboy. Movie Barry acts more like DCAU Wally. He’s the general perception of what a Flash should be, with the name of “Barry Allen” slapped on. The Flash costume is also bad, as it’s a version of his over-complicated DCYou costume that looks like someone ripped off patches of his skin. Even more ridiculous is his speed effect. The Flash’s gig is running, yet the movie rarely shows him actually running, not even using the TV show’s much more comic-faithful streaking effect. Instead, he just teleports everywhere in a crackle of thunder. When he does get close up shots at him running...he barely knows how to run. Ezra Miller gives him an over-dramatic flopping stance that’s cringe-worthy to look at. However, I guess that matches the nervous, nerdy boy he’s characterized as. The biggest problem is that the Flash does not seem to be in the same movie as the rest of the team. He’s funny and quirky, but ultimately he’s more like an inserted audience member or a commentary track. He’s there to comment hilariously on himself and the situations the team gets in, and squee over the other heroes. His attitude during fight scenes is also jarring. Everyone else is ready to go, and yet the Flash is a ball of nerves constantly complaining over his phobia or his health. (the only thing missing is a “I want my mommy” line, which I’m sure we’ll see enough of in a Flashpoint movie) As a result, he destroys the heroic, hot-blooded mood of every scene he appears in. I would say he’s definitely the weak link in this movie.

Dealing with loss and grief and regaining hope is a big part of the movie, and I do like this overarching theme. However, the build-up to Superman’s big world-saving return and suddenly improved relationship with the Justice League falls a little short. However, I don’t mind this. It’s actually the previous Snyder films that caused problems with this one.

IT IS ABSOLUTELY ZACK SNYDER’S FAULT THAT THE DCEU BECAME A DARK, DEPRESSING MESS.

Zack Snyder made a dark and depressing Superman film, truly an achievement in failure. He gaffed with Batman and Superman’s first meeting in the DCEU, making the hole deeper. And if the news is right, his Justice League would have been more of the same fare. The movie we got is far from perfect, but I enjoyed it, and I don’t know if I’d say the same thing about the Snyder cut.

[intergalactic-zoo]

In preparation for my viewing of Justice League, I decided to revisit Batman V. Superman: Dawn of Justice. I've been dithering with this post on and off for a month, and while I don't think it's gotten any shorter, at least I feel like it says all I'm going to need to say on the subject. Also, I added some pictures. Anyway, you may recall that I did not care for the movie the first time around. I'm approaching this like I did with my Man of Steel rewatch that I did in preparation for that viewing: trying to focus on the positive, to find the movie that I've seen fans posting gifs of on Tumblr for a year and a half. To that end, I'm watching the Ultimate Edition, which I've heard is better than the theatrical cut. Without further ado... I listened to the opening voiceover three times, twice with subtitles, and I'm still not sure what it means. "What falls...is fallen," is, I suppose, meant to be a way to set up Batman's character arc, that he goes from this nihilistic place to learning to hope again, but hoo boy does it make Batman sound like a pretentious MFA student. As unnecessary as the rehashed Batman origin is, I like that we see Martha Wayne being the proactive one in the alley. We typically see Thomas trying to take control, rushing forward to protect Martha and Bruce, and this is a nice change of pace from that. Batman and Superman's stories tend to be way too dad-centric, especially in adaptations, to the point where Martha Wayne is largely a cypher, despite having existed for almost eighty years. I'm no Batmanologist, but I think the only comic I've read that tried to characterize her at all was Batman: Death and the Maidens. Looking back to Man of Steel, this is an ongoing theme. Moms live longer in the Snyderverse, whether it's a few days, with Lara, a few seconds, with Martha Wayne, or indefinitely, with Martha Kent. Moms are also badasses, with Lara facing down Zod, Martha K. taking on Faora, and here, Martha W. trying to protect Bruce. It's a little weird that the Batcave is apparently adjacent to the Wayne family cemetery plots. Ugh, "the Superman." I'll accept "the Batman" as something people call Batman, but seriously, "the Superman" is what Nietzsche wrote about, not Jerry Siegel. At least, post-1933.

There's a giant alien spaceship destroying cities, and it's been active long enough for Bruce Wayne to ride a helicopter over to Metropolis and drive halfway across town in disaster traffic, but nobody at Wayne Enterprises looks out the window or starts to get out of the building until they get a call from the boss. Those are some dedicated employees, let me tell you. This is also a stark contrast to Superman, who never so much as shouts at bystanders to run during the big fight with Zod. Why doesn't Jack leave the building? It looks like the rest of the staff made it out, and as far as I'm aware, there's no tradition for the CFO or whatever to go down with the ship. Moreover, why does Bruce think he's still in the building? We just saw that he had no cell phone service, so it's not like their call was still connected. This scene tries to do what Man of Steel really failed at, examining the human cost of this destruction, but it doesn't work. There's no reason for Jack to make the sacrifice (at least they could have had him run back into the building to save someone, to make a parallel with Pa Kent in MOS—in the Snyderverse, Moms survive and Father Figures die for no reason), there's no reason for Bruce to think he's not among the evacuees, and we have no emotional connection to this character that we've never seen before in any medium. At least if it were "Lucius," the film could play on audience's previous familiarity with the character to tug some emotional strings, like it does with Jimmy Olsen later, but this is just the movie reaching for an emotional payoff that it hasn't earned. It's the same problem as the Jenny saying "he saved us" in Man of Steel—it relies on characters knowing things because the audience knows them, even though the characters have no way of knowing. It's a weird inversion of dramatic irony. The moment with the little girl who's lost her mom works considerably better, because at least it ties back to the origin flashback. The closest thing we have to a throughline for Batman's character in this movie is that he doesn't like it when people lose their moms. When I rewatched Man of Steel, I kept wondering what impression people on the street would get of Superman, and this is actually a nice reification of that. Bruce sees Superman pushing Zod back down from space, apparently in control, surrounded by debris from a Wayne Enterprises satellite, bringing him right back to the huge, densely-populated city that they were fighting in before, when presumably he could have flown him into the ocean just as easily. Bruce seems to have nothing but contempt for the battling aliens, and that's a way more genuine reaction than seeing him as a hero.

I am just infuriated by the callous incompetence of the Superman in this universe. Eighteen months later and there is still a wrecked alien spaceship leaking radioactive xenomaterials into the Indian Ocean. Like, for a movie so focused on mothers, it doesn't speak well of Martha Kent's character that she never taught her son to clean up his messes. We cut to a fictional country in Africa, where Lois acts like a jerk to Redshirt Jimmy, then sits down to interview General Amajagh with literally no chill. He says that he is "a man with nothing except a love of [his] people," and that's one of those lines that feels important. On one hand, it's more or less exactly what Zod said toward the end of Man of Steel, so that connection's made; on the other, it resonates with Batman's attitude, and Lex Luthor's as well. "These pious American fictions, spoken like truth" is another such line, and Luthor's "oldest lie in America" line echoes it later. The most suspicious thing about Jimmy Olsen is the idea that he'd be using a camera with film in 2016.

Hooray for casually lethal Superman. People like to justify the idea that Superman should be able to kill people in situations like this, where an innocent person is being held at gunpoint by a Bad Guy, because it would be a justified use of lethal force. And that would be true if Superman weren't, you know, Superman. He's not limited in the ways that, say, human law enforcement officers are. Even in the real world, we've seen an epidemic of police officers resorting to lethal force when effective nonlethal options are available. But for Superman, there are always nonlethal options available. We've seen this scenario before a thousand times, where Lois is in danger, held at gunpoint by a Bad Guy, and Superman manages to stop him without killing him. He can grab the gun at super-speed, he can block the bullet from exiting the barrel, he can melt the gun or the firing pin with heat vision, he can knock the Bad Guy out with a flick of his finger. We've seen literally all of those and a dozen other options spread out across half a dozen media for nigh on eight decades. But this is a Superman who defaults to lethal force, and I'm sorry, but that's not a heroic trait. Not in general, and especially not in the world of the last several years. Also, Lois and Superman share this look before he does the death-flight move, and she nods and lets go of Amajagh's arm and braces herself, implying this has happened before, or at least that they've discussed what they'd do in this situation. That adds a layer of complicity to Lois's behavior that's uncomfortable at best. We cut then to Nairomi villager Kahina Ziri's Congressional testimony, where it seems like the security contractors' intent in killing Amajagh's people was to frame Superman for their deaths. Which, first, is wholly unnecessary given that Superman actually does kill Amajagh, and second, would almost certainly be more effective if they had just used the flamethrowers rather than shooting the men and piling their bodies before burning them. Or did this universe's version of Lois Lane's "I Spent the Night with Superman" column mention his bullet-vision? Senator Finch decides to hold Superman responsible for the deaths of Amajagh's people (despite the fact that he stopped the CIA drone strike that also would have killed them, but that's actually fairly believable), and we see that the driving theme of the story is going to be the Responsible Use of Power and Holding the Powerful Accountable. It's a reasonable theme for a Superman movie (it's very similar to the theme of Superman IV, in fact), and a common theme of Superman stories going back to the Golden Age. Rarely, though, is it told through a version of Superman who is so obviously and disastrously irresponsible in his use of power. Ziri turns out to be lying, as part of Luthor's scheme, which is highlighted by how her recounting of events is directly contradicted by what we just saw. Leaving aside the elaborateness of Luthor's scheme, it's not a good look for all these African characters to be either sinister or witless pawns. The cops watching a Gotham/Metropolis football game are call sign Delta Charlie 27, and if you don't catch that Easter egg, don't worry, they repeat it three or four times to drive it home. And hey, if you thought "d***splash" was a weird phrase to hear in a Superman movie, wait 'til Officer Rucka drops an f-bomb. Clark comes in while Lois is in the bath, and right off the bat says he doesn't care what was said at the hearing. Which...kind of validates the point of the hearing. He also says he "didn't kill those men," which isn't quite accurate, is it, Clark? Like Ziri's testimony, Clark here is saying something that is directly at odds with what we just saw. Unlike her, though, we're never given a reason for the incongruity. It's common in superhero stories to have characters survive experiences that would cripple or kill normal humans. People point out how brutal Captain America is to a lot of the guys on the ship at the beginning of The Winter Soldier, and how some of the guys he kicks or throws his mighty shield at would likely have sustained pretty grievous injuries. There are two ways to deal with this; in Winter Soldier, we never really revisit the issue. Whether the anonymous cannon fodder died or were injured or were knocked out never comes up again, so we can assume whatever we like. The other way is to show some indication that, however improbably, the person survived their experience. Having a quick shot where they groan or rub their head or squirm on the ground is pretty commonplace, especially in superhero cartoons, for instance. This movie tries to do the former, treating these minor villains like goons in a beat-em-up arcade game, whose bloodless bodies disappear once their hit points are exhausted. Which might be fine, if not for the fact that "who administers lethal justice" is an explicit theme in the movie. As a result, we're left with an inconsistency between what Clark says and what we saw him do, with enough ambiguity in his words to make us wonder if he's being as duplicitous as Ziri was. Lois points out that there's a cost to his actions, which again feels like one of those "this is thematically important" lines. The Lois and Clark interaction is good here; I like seeing them being affectionate and even physical with one another. And yet, as if to drive home that point about themes, Lois warns him that he's going to flood the apartment if he climbs into the bathtub, and he just smiles and continues. This is a Superman who does what he wants, and damn the consequences. Hope they don't have any downstairs neighbors.

Alfred tells Bruce that "a feeling of powerlessness [...] turns good men cruel," in case you're taking notes on themes. And then this leads into our scene of Silicon Valley Startup CEO Lex Luthor, who offhandedly mentions that his father grew up poor and oppressed in East Germany before launching into his kryptonite weapon pitch. There's some weirdness here in the way they go from kryptonite weapons as deterrents to the "metahuman thesis" which suggests that Lex thinks metahumans are related to Kryptonians, and I wonder if that ties into the rumors from before this movie came out that the Amazons would have been descended from that empty pod on the Kryptonian ship. Lex's negotiations with Senator Jolly Rancher underscore that theme of power, and the abuses thereof. Lex pretends to be interested in preventing the metahumans from instituting a fascist state, but really just wants to be the guy with the launch codes. Much as I dislike this Heath Ledgeresque portrayal of the character (though he's not my least favorite version of Lex), this is a good understanding of the core of Lex's character. Clark has a sad at Kahina on TV pointing out that his actions have consequences. Meanwhile, there's a "beloved" statue of him in Heroes' Park. I wish we had a little indication of how we got to that point, how the city apparently got back to normal and built a massive monument in the span of 18 months. For comparison, only a handful of buildings in a single area were destroyed or damaged in New York on 9/11, and they didn't start constructing the memorial until almost five full years later. A line about how Superman assisted with the cleanup, a shot of a newspaper article on how helpful he was in rebuilding the city, those little things would have helped to make sense of the world we're presented with. As the story actually stands, it's another attempt to have a meaningful moment without actually earning it, and it further undercuts the movie's inconsistent attempts to explore the consequences of these superhero battles. Clark Kent, news reporter, is unaware of the vigilante in the town across the bay whose exploits were literally front page news the day before. So he's actually incompetent at both his jobs. And so is Perry White, who is a cynical jerk here who basically flaunts his lack of integrity. When Clark hits him with the same point that Kahina made on the news, he dismisses the very notion of the American conscience. Lois comes in with the bullet she recovered from Amajagh's camp, which is a one-of-a-kind cutting edge bullet not available anywhere. So, to recap, Lex Luthor had his people use unique, easily-traceable bullets to kill people in an attempt to frame Superman, who does not use guns, for their murder. And yet Lois thinks this means the U.S. government armed the rebels while claiming to support the elected government, even though it was already said that the government was officially neutral, and she knows the CIA was involved in going after Amajagh because she just washed the agent's blood off her shirt. Superman blew up a damn drone on the way to save her. Did he not mention that? One day it'd be nice to get back to superhero costumes that look like they might believably fit under a person's civilian clothes, rather than having to spend all their time on mannequins in those heroes' basements.

Clark Kent, news reporter, doesn't recognize the famous playboy billionaire businessman who lives in the town across the bay, owns an office building that he helped demolish (not to mention a satellite), and who was namechecked by the guy defacing a statue of him. It's bad enough that Clark managed to even get this job when his résumé reads "fisherman, waiter, US Air Force baggage handler," and it's worse that he doesn't find it odd that he, a guy with no more than 1.5 years' newspaper experience who struggles to file sports articles, gets specifically requested to cover a high-class fundraiser, but he hasn't even bothered to research the big-name donors who were specifically invited to the event he's covering? He is staggeringly incompetent. As bad a newsman as this movie's Perry White is, that he even tolerates Clark is a testament to superhuman patience. Clark tells Bruce that he's "seen" the "Bat vigilante," except...no, he hasn't? He's seen a newspaper story about it, and talked to a few people who fear Batman, but he hasn't actually seen Batman. He makes a crack about Batman thinking he's above the law, after scoffing himself at the idea of being accountable to a higher authority a few scenes ago. Again, Bruce is 100% right here: Clark is being a hypocrite, and doesn't even have the "Batman's tactics are too brutal" moral high ground to stand on when he risked an international incident by unnecessarily splattering a warlord through two brick walls. Like, the charitable interpretation here is that Clark is dealing with a crisis of conscience, trying to find an answer to the question of using power responsibly. So he's putting this question to other people with power—Perry, Bruce—in hopes of, what? Finding a satisfying answer for himself? Getting the guidance he seems to need? Exploring alternative points of view? The closest thing we have to a conclusion to this muddled plotline is that Superman sacrifices himself in the end, which could indicate that he realizes there's no way to use this much power responsibly. That would be a potentially interesting take, even if I think it's ultimately at odds with the whole point of Superman. If this were the Dark Knight Rises of the Man of Steel-iverse, a coda to Snyder's version of Superman the way that DKR was for Nolan's Batman, it could work. Instead, this is the springboard for the entire DC shared film universe, so it can't end with the message of "superhumans shouldn't exist because that amount of power inevitably corrupts or has unforseen negative consequences." It has to end with "Superman was actually great and now we need to get all the superhumans together because bad things are coming that regular people can't stop." Even if that weren't the case, we still have a situation where Superman sacrifices himself knowing full well that there is technology that could resurrect him as an unstoppable monster and that there are people willing to do just that. Even if the conclusion of his asinine soul-searching is "no one man should have all this power," his sacrifice doesn't fix that. It just wipes his hands of having to figure out who has that power and how it's used. Even his heroic sacrifice represents an irresponsible attitude toward the enormous power he possesses, and that's almost impressive.

Lex Luthor pops up, and the World's Greatest Detective doesn't find it odd that he knows the name of the occasional sports reporter who's covering the gala. Lex could not be more obvious about knowing who the two of them are. He also mentions that Bruce is finally in Metropolis, "after all these years." Metropolis, you'll recall, was home to a Wayne Enterprises building less than two years ago, and Bruce was heavily enough involved in its operations that he was on a first-name basis with the manager, and the staff didn't bother evacuating until they got the word directly from Mr. Wayne. Like, even if we imagine that Bruce traveling across the harbor to a building he owned was a freak occurrence during the battle, this also suggests that after witnessing and being traumatized by all that destruction, Bruce Wayne didn't bother setting foot in the city to help rebuilding efforts. Clark sees a report about a fire in Juarez and saves a little girl, leading to another "here's some religious imagery" scene, and a talking heads segment about how "every religion believes in a messianic figure," which I'm almost certain is complete nonsense. What's worse is that this segment made me agree with Andrew Sullivan of all people. The last bit poses the same basic question that young Clark asked Pa Kent in Man of Steel: should he just let people die on principle? And yeah, it'd be hard to tell a parent that their kid died because Superman restrained himself from saving them. But isn't it also hard to tell a kid that their parent died because Superman acted without restraint and, say, disabled a spaceship so that it would crash in the middle of a city? There's a fairly rapid-fire sequence where the bat-branded crook from earlier gets transferred to Metropolis and killed on the orders of Luthor's Russian merc, Wally the statue vandal gets released on Luthor-paid bail, gets cleaned up, and meets with Senator Finch, and Lois confirms things she already suspected about the strange bullet (with a bit of bathroom gender essentialism from General Swanwick). Clark gets in another fight with Perry, who tells him "you could stand for something in 1938, but not anymore," which...

And we also learn that not only has Clark Kent, a guy who can travel from the northeast coastal U.S. to Juarez in seconds, hasn't filed either of the stories he's been assigned so far. Like, sports stories don't have a long shelf life, my dude. You are a terrible reporter. We're treated to a painfully unfunny Jon Stewart monologue about Superman wanting not to be considered American anymore. It's weird on several levels, since we've had no indication that Superman's made any statements at this point about...anything, but it's also just not well-written. Superman must be American because he wears red and blue and has an S on his chest? It's a bigger stretch than the right-wing radio host I heard circa 1997 saying that the blue-and-white electric costume meant Superman now represented the United Nations. It makes more sense as a response to that Goyer-penned story from a few years back about Superman renouncing his U.S. citizenship, but even then it's still not good. Verbal sparring with Bruce and Diana, then we get the "Knightmare" sequence. I want to laugh about Batman wearing a mask over his mask, but honestly that's pretty true to the character.

Mad Bat-Max fights Superman Nazis and Parademons with guns until Superman kills him for taking "her" from him, presumably Lois. And then the Flash shows up to say "Bruce! Bruce! Justice League premieres in November, 2017! Mark your calendars!" or something. Did we need two scenes back to back where Bruce dreamily realizes that Lois Lane is important and Superman is bad (though Flash is notably vague with his pronouns)? Do we have any indication at all as to what's behind Batman's weird dreams? I've seen Justice League at this point, and I still can't answer those questions. Speaking of scenes we've already seen, Clark Kent gets a mysterious envelope with the Batman newspaper article he waved around earlier and a bunch of Polaroids of that dead bat-branded criminal, with the phrase "Judge Jury Executioner" written on the bottom. Literally none of this, down to that phrasing, is news to Clark, but hey anything worth doing is worth doing twice I guess. Also, even though he hasn't published anything about Batman, even though he's only asked a handful of people about the Bat vigilante, he doesn't stop to wonder who would send him these pictures, or whether it might be an attempt to manipulate him. Bruce learns that the White Portuguese is a ship, which I feel like he probably could have found out without downloading Lex's mainframe. He already knows about the kryptonite, and he knows it's being delivered to Lex Luthor, so he's going to steal it and use it to kill Superman, based on logic straight out of the Iraq war. It's a bad argument, especially for a guy who we know doesn't care about the consequences of his branding low-level thugs but has allowed the Joker to keep on living. It is easy to craft actual reasons to rein in the reckless, inexperienced, cavalier Superman of this universe, but Batman manages to be just as wrong and just as hypocritical as Superman. For the record, I think this is really the turning point of the movie, the sequence from Knightmare to this point. This is where the movie takes a hard right turn from a kind of fascinating mediocre to Actually Bad. All these overwrought dialogue-heavy scenes hammering on the same points as though the universe itself is trying to force Batman and Superman to fight, because it is. It's not just Luthor; as much as he's orchestrating, he isn't behind Batman's dreams or the branded crook's girlfriend being in the police station when Superman shows up. Every conversation Clark and Bruce have is driving them to fight each other because that's the title of the movie, not because it makes sense for either of their characters. And they both have to be hypocritical idiot fanatics for the plot to make any sense at all. I was going to say that this is plot driving character, but it's not, because there's not enough of either. This is a fight scene driving everything else. The battle between Batman and Superman is the given, and nothing else needs to make sense so long as it ends up with them fighting. So, after seeing Days of Future Bats using a handgun, we get a fakeout with him aiming a sniper rifle at the guys hauling the kryptonite. Psych, it's actually a tracer! Batman doesn't kill people, silly! And then he Batmobile-rams an apparently-occupied car so that it flips over several times and takes out a trailer office. Psych! Batman totally kills people. Okay, so maybe the office was empty, and maybe that car was just sitting next to all the other occupied cars, with its headlights on, but empty as well. Maybe? Maybe you can argue that he didn't kill anyone with it. Not so much after he harpoons it and uses it to flatten a car with at least four guys in it. And then uses his hood-mounted bat-guns to 1000% kill at least another two in an SUV.  I won't even blame him for the guy he let drive into a tanker truck, but he definitely decapitates at least one more with his car driving through the top of the semi carrying the kryptonite.

Are we supposed to be okay with this because Batman only has the power to kill dozens of people, rather than millions? Is his argument against Superman really just a matter of numbers? The thing about this scene that's most galling, though, is how unnecessary it is. Batman knows what ship the kryptonite is on, where it's docking, who's taking it, and where they're planning to deliver it. He puts a tracking device on the truck. There is no reason whatsoever for him to be chasing after them in his sports tank. He kills at least seven people and endangers at least a half-dozen other drivers we see on the road because, what, sneaking was too hard for The Batman? He was too lazy to set up an ambush? Nothing in this scene makes sense, and it thoroughly undermines what little moral high ground Batman had. It makes him look less like he's upset that Superman endangers people and more like he's just upset that Superman does it more efficiently. And then his car bounces off of Superman, which is actually a pretty cool idea. I always like it when Superman's powers are treated kind of casually; it makes him seem so effortlessly powerful. But then he gives Batman this 'go home and stop being Batman, or else' speech, and Batman asks "do you bleed," and ugh. That little detour kept Batman from pursuing the kryptonite shipment, so instead he uses the tracer. Surprise, it's at a LexCorp research facility! Except now they know Batman's after them! World's Greatest Detective, everybody! Lois meets with the General again and gives him the bullet. Senator Finch asks Superman to come to Congress. Lex ogles the kryptonite. Superman meets with Martha Kent, who tells him "when people see what you do, then they'll know who you are." She follows this up with "you're not a killer. You're not a threat." Except that he is. He's both of those things. He killed Zod, he killed Amajagh, and that's just the two we've seen directly, that's not even blaming him for all those killed in collateral damage. The last time we saw him in costume, he was literally threatening Batman. Martha's pouring a big ol' glass of Granny's Peach Tea right here. And then "you don't owe this world a thing. You never did," which is a pretty garbage sentiment, there, Martha. It's no wonder that this Superman doesn't bother to clean up his messes, doesn't think he should be held accountable, doesn't seem to have much agency beyond asking other people what he should do, if that's the message he's been getting his whole life. Hide your abilities to save yourself, you don't have to help people...these aren't the philosophies that build a hero. And Superman doesn't argue with her, doesn't plead a case. He just looks melancholy.

Ziri sees the contractors, then goes back to tell Sen. Finch that she lied before. The General meets back up with Lois to tell her that the bullet was developed by LexCorp and that it was a setup to make Superman look responsible. So, again, LexCorp hired mercenaries directly, armed them with unique LexCorp-designed bullets, and had them shoot a bunch of people to frame Superman, who doesn't use guns, for killing them, when he did in fact kill their leader and didn't actually need to be framed for anything. Everyone in this movie is an idiot. Perry won't run Lois's story against Luthor on the word of an anonymous source, and Finch knows that Ziri lied about pretty much everything because Luthor threatened her. So, if all this could be stirred up by one witness lying, why did they even need to kill the villagers in the first place? Luthor shows up, sends Mercy into the Congressional chamber, and tells Sen. Finch that the oldest lie in America is "that power can be innocent." And, again, he's right. We know he's right. Superman and Batman's reckless abuses of their respective powers makes them both responsible for unnecessary, avoidable, unjust deaths. And while you might argue that Luthor's being a hypocrite here, since his men push Ziri in front of a subway train and since he's about to blow up Congress, it's not like he's exempting himself from that statement. Luthor is willing to use his power, lethally if necessary, unilaterally to achieve his own ends. How is he any different from our two ostensible protagonists? We've seen this kind of question asked before, particularly in Lex Luthor stories. Luthor is cynical, megalomaniacal, and narcissistic. He can't imagine that Superman would use his power altruistically because he can't believe that anyone wields power without expecting something in return. And in these stories, we know that Luthor is projecting his own flaws onto Superman because he's unwilling to accept that he might be wrong. But having the Superman of these films, who uses his power irresponsibly and doesn't care about accountability, recontextualizes Luthor's position. He's no longer obviously wrong, no longer clearly trying to justify his own actions. This Luthor is a power-hungry narcissist, sure, but when opposed to a cavalier, unrestrained Superman, he's got a point. Anyway, in keeping with the movie's need to hammer every point home, Senator Finch chokes on her speech no less than three times as we take four long, loving shots at the jar labeled "Granny's Peach Tea" on her lectern. Then the Wallybomb blows and Superman just stands there, looking melancholy. Was his last line when he threatened Batman? Is this meant to be another allegory, Christ remaining silent under Pilate's questioning or something? Or is this Superman just a passive observer when he's not chasing down the Batman story or murdering warlords? Like, seriously, the U.S. Capitol Building just exploded. There are probably people in other rooms. There are priceless artifacts in this building. Maybe don't just stand there?

To Superman's credit, we do see him rescue a woman and bring her to the EMTs. And then he looks melancholy at Lois and flies off. The Capitol is still smoking, EMTs are working with people on stretchers, cops are zipping up body bags, but Superman doesn't try to reassure the crowd, doesn't ask the first responders how he can help, doesn't tell Lois what happened or where he's going. He just flies away. It's as if the filmmakers heard the criticism that Superman barely saves anyone in Man of Steel, and put this in as a "fine, see? He saved someone. Happy now?" As if Superman's got better things to do than help people who need help. We learn on the TV at Wayne Manor that first responders are still bringing victims out. Superman has to at least suspect that this was targeting him, right? And he just disappears, rather than help people who got hurt because they were near him. It's a theme for this version of Superman. Naturally, this drives Batman to go steal the kryptonite from Luthor's lab, which he was already going to do but now I guess he did it angrier. Superman has a sad with Lois about how he shouldn't have even bothered with helping people, and it was his dad's dream anyway. Lex gets into the Kryptonian ship's database, Batman does crossfit and makes his kryptonite weapons, and then he gets into Luthor's "META_HUMAN" folder where he's helpfully assigned the Justice League handy symbols and, apparently, names (or two-letter designations that just happen to correspond to their names).

If you were worried that maybe you wouldn't recognize one of the surveillance shots of Diana, it's okay, she always makes sure to look directly at the camera. But we get to hear her amazing theme music for the first time, so that's good. Luthor brings Zod's body into the Kryptonian ship and drips his own blood on it for reasons, and in the Daily Planet office and around the world, people are debating the degree of Superman's complicity in the bombing of Congress. It's not entirely fair to pin that on him, but the point that he's got nigh-unlimited power and did nothing to prevent people from being killed can be levied on other things he's done, so it's kind of a wash. Lois Lane, who generally makes out pretty good in these movies, sits at home watching TV, where they've figured out who the bomber was, but still haven't ruled out Superman as a co-conspirator. Because if he wanted to kill a whole bunch of people, he'd have some rando who hates him build a bomb. I can't decide what's dumber: that Lex keeps trying to frame Superman for murder with tactics that Superman doesn't use, or that people buy it. Lois eventually gets up and investigates Wally (and learns that the bullet and wheelchair were made of the same metal, because why not? Lex Luthor, criminal mastermind everybody), but she's weirdly passive here. You'd think she'd already be out fighting to clear Superman's name, badgering police officers and so forth. So much of this movie happens to our protagonists. Clark's already been sad in a field, and sad in a building, and sad in a city, so now he gets to be sad on a mountain.

And look, sad dead dad is there too, giving a speech about well-intended actions having unintended negative consequences. There's no clear message here. Is Pa saying that trying to be a hero means other people will get hurt?

That having a loving relationship will assuage your guilt? You'd expect there to be some kind of turning point to this conversation, that Clark would hear what he needs to hear, either that he's doing the right thing or the wrong thing, but we don't really get that. At most, it implies that he should listen to Lois (or maybe Martha), but even that's a bit of a stretch. Martha Kent gets kidnapped, Lois Lane gets kidnapped, and Lex throws her off a building so he can ramble Theology 101 at Superman. We get confirmation that Lex's dad was abusive, which hearkens all the way back to Alfred's comment about powerlessness making men cruel. We also get confirmation that Lex knows who Batman and Superman really are, because of course he does. He's going to force Superman to kill Batman so that the public sees what a monster Superman is. For killing a guy who's already a criminal vigilante that the papers say have gone too far. He also had Martha tied up, humiliated, and photographed, for a bit of that Killing Joke flair. Superman tells Lois that he has to convince Batman to help him, or he has to die, and the first part of that would ring truer if he hadn't threatened Batman earlier. Strange doings are afoot at the Kryptonian spaceship, and Wonder Woman reads her e-mail one 18-point line at a time.

When Superman confronts Batman, he sends some mixed messages. He tries talking, admits he was wrong, says there's no time, then shoves him because why not? It's not like he's in a hurry or anything. He hits Batman for no reason except that he has to hit Batman in order to fulfill the promise of the title. He also keeps throwing Batman, when he could pretty easily restrain him in order to, you know, ask for the help he needs. Instead, he's got to win the pissing match.

The bit where Batman's punching Superman in the face until the kryptonite gas wears off is very well done. It's one of the best bits of Superman fight choreography ever on film, up there with the bullet to the eye in Superman Returns and the punch-rush-punch in the Zod battle in Man of Steel. It's also pretty great that Batman literally hits him with a kitchen sink. He tells Superman that his parents, dying in the gutter, taught him "the world only makes sense if you force it to," which seems like a good metaphor for this movie. People seem to be able to derive a lot of messages out of this film, largely because it throws a whole bunch of stuff out that's meant to seem deep even if none of them actually fit together coherently. And then "you're letting him kill Martha," which is, yes, dumb from every possible angle. Superman doesn't specify who "him" is, doesn't specify who "Martha" is (but we get some flashback sequences to remind you that Bruce Wayne's mom was also named Martha!), and this doesn't make Batman even more enraged since he got that letter earlier about how he let his family die. I do like that Lois saves Superman. And suddenly they're all bestest friends, after wasting a bunch of time in a totally avoidable way. Batman kills several people from his bulletproof plane with his giant bat-Gatling gun, kills a few more dudes in the next fight, and finally kills the Russian in a scene pulled from Dark Knight Returns. Except in Dark Knight Returns, that scene stands out as a kind of turning point for Batman, because despite how ruthless he is in battles up to that point, killing a guy with a gun is still a line he doesn't typically cross. In this movie, Batman's already used a gun in a prophetic dream sequence, and he's been cavalier about killing people already, so it's just another notch on the utility belt here.

Martha and Batman's banter is very good, though. Doomsday is born amidst Luthor's continued nonsense about killing gods, and let's talk about Doomsday for a second. My feelings on Doomsday are well-documented (and oddly similar to my feelings about Zod), but I have a soft spot for the big galoot because the Death of Superman got me into Superman comics. Doomsday, for all that he's a long-haired bone monster in bike shorts, was a distinctive monster. This version of Doomsday, on the other hand, is basically indistinguishable from trolls we've seen in Lord of the Rings and Harry Potter movies. He's slimy, he's smooth, and somehow turning into a monster gave General Zod the groin of a Ken doll. His design is totally uninteresting. Even making him into something more clearly a misshapen hybrid of Zod and Luthor would have been better than this gray hulk. He gets bony and glowy later, but it's still weirdly restrained compared to the designs we've seen in the comics. Superman saving Luthor from Doomsday's punch is one of the few moments that a recognizable Superman comes through in this movie. Doomsday has his King Kong moment, and Wonder Woman wonders if maybe her great power entails some kind of great responsibility. Superman and Doomsday get nuked because it gives the movie an excuse to do another Dark Knight Returns scene devoid of its context. Batman realizes that Doomsday is Kryptonian, so rather than flying over to the spear and returning to the uninhabited island that Doomsday currently occupies, he thinks the best plan is to lead the rampaging indestructible murder monster back through the heavily populated city whose partial destruction so traumatized him before, so he can retrieve the kryptonite spear there and kill it. These are literally the worst superheroes. Thankfully, Wonder Woman shows up to save his bacon and to improve the movie by a billion times or so with her awesome theme music. Batman mentions that the port is abandoned, in a nice illustration of how a line or two can smooth over apparent plot holes (though I suspect the buildings Doomsday heat-visioned to get at the Batwing weren't quite so unoccupied).

It's about as elegant a solution as the "Duke's alive!" dub at the end of the G.I. Joe Movie, but several scenes would have benefited from more of that. Superman does the heroic sacrifice thing, and it's more necessary than I gave it credit for the first time I saw it. Wonder Woman is occupied keeping Doomsday tied up, Batman is out of his league, and Superman's clearly struggling to do a head-on charge with the kryptonite spear, so getting around to hit it from behind isn't much of an option. Unlike the end of Man of Steel, this feels much more genuinely like there wasn't another choice, rather than like the writers painted themselves into a corner. Some black ops guys go spelunking into the Kryptonian ship to find Luthor communing (?) with Steppenwolf (???), then take him into custody, where he gets his head shaved. The Daily Planet runs with a simply godawful headline, "SUPERMAN DEAD[:] NIGHT OF TERROR MORNING OF LOSS," which leads me to believe that all the copy editors died during Zod's attack. Clark Kent also died, and the Daily Planet prints in color on interior pages, so they must be doing all right. At the memorial for Clark, Martha gives Lois an envelope Clark had sent to surprise her, and it's an engagement ring. I could quibble with the logic of this scene, but it's poignant enough to let it pass.

The dual funeral scene is done pretty well, jumping back and forth between the big to-do at what appears to be the Metropolis branch of Arlington National Cemetery, and the more understated service in Smallville. The Smallville priest does a really weird reading that's clearly about resurrection, rather than a more standard Psalm, but it's ~*~foreshadowing~*~. Bruce and Diana talk about the Avengers Initiative, and now Batman believes men can be good, and they can rebuild. He's so full of hope now. For reasons. Batman comes to visit Lex Luthor with his Bat-branding iron, and says he's going to have Lex transferred to Arkham Asylum. Lex raves about bells and another pronoun that presumably belongs to some Apokolips thing, setting up the sequel, and I'm just tired. And then the dirt levitates off of Superman's coffin. Final thoughts: I'm definitely not as angry this time around as I was walking out of the theater a year and a half ago. Whether that's because the Ultimate Edition hangs together better or because I spaced it out over the course of three days or because I knew what to expect, I really can't say. So, positives: Ben Affleck isn't bad as Batman, Henry Cavill and Amy Adams do fine with what they're given, and Wonder Woman is great. The rest? There are scenes, like Amajagh's death or the aftermath of the Zod battle, that would be improved with a single line. "I dropped him off at an Interpol office." "Superman led the rebuilding efforts." "Rubber bullets, honest." Those would be clunky telling-not-showing moments, but they could easily smooth over some of the film's bigger problems. On the other hand, we have so many unnecessary scenes, things that happen over and over, driving home muddled thematic points (power, gods, etc.) or references ("Martha," "granny's peach tea," etc.) so that even the most inattentive viewer is going to catch everything the filmmakers thought was significant. What's telling is the things they thought insignificant. The text of the movie is so preoccupied with putting a human face to the casualties of these superhero battles and the ability to decide who lives and who dies, but the visual language of the movie doesn't care about those things at all. I keep harping on Amajagh's death because it's the clearest example of this; Superman slams the guy through two stone walls, and he is never mentioned again. The text of the film suggests that Superman didn't kill anyone in the village, but we have no reason whatsoever to think that he didn't kill that guy that we definitely watched him kill. Batman is so angered by Superman's callous disregard for life, then goes hurling cars around with no regard for safety, and no justification in the plot. During that chase sequence, I had a hard time judging just how many people he killed because of the effects shots. A car that was visibly full of dudes shooting at Batman before the stunt...

...is empty immediately after.

The text of the movie is telling us about how dangerous it is to let individuals decide who lives and who dies, and real people get hurt as a consequence even to well-intentioned actions. But the visuals tell a different story, that violence is cool and bloodless, that victims of violence don't even matter enough to be shown on the receiving end of that violence, and that those who commit crimes deserve neither due process nor the continued freedom to live (unless they're good criminals like the titular protagonists). This is a problem, and this kind of dissonance subverts every message the movie is trying to send, every theme it's trying to explore. Take, for instance, the repeated, not-even-subtextual theme of power: who has it, who abuses it, and how to hold the powerful accountable. We have three powerful characters who abuse their power: Superman, Batman, and Lex Luthor. Of the three, only one is punished for it: Lex, whose punishment comes in the form of Batman continuing to abuse his power by threatening him in prison and sending him to get abused in Arkham. Batman forgives Superman for the death and destruction that followed in his wake because of his sacrifice, and he feels no need to turn himself in or moderate his actions, just to assemble an army because Marty McFlash said he should. Heck, Batman's justification for building the kryptonite arsenal and Superman trap is ludicrous even judging these characters as they are (as opposed to how the movie wants us to see them), but he's vindicated because if he'd failed to build those weapons, Lex Luthor would have destroyed the city and probably the world with his laserface murdermonster. And to what end? Lex Luthor's master plan requires him to be both a Xanatosian genius and a complete idiot. He figures out Superman and Batman's true identities, manipulates them in ways that end up being both obvious and unnecessary (unless we're meant to believe that he plants Santos's wife in the police station for Clark to meet), and all so he can turn General Zod's corpse into a monster that immediately tries to kill him? If the implication is meant to be that he's been under Apokoliptian control the whole time, it might have been a good idea to make that clear (maybe trade one of the piss jar shots for that). As it stands, it looks like Luthor's plan was to occupy Superman and Batman long enough that he could destroy the world. For a movie that clearly has ambitions of being more complex and deep and dark than your standard superhero fare, that's an incredibly cartoonish goal. And that's kind of the story of the whole movie. You can't argue that Batman V. Superman: Dawn of Justice isn't ambitious. It has aspirations of being deep and meaningful, of exploring the meaning of superheroes in a real world, the human costs of their battles, the responsible use of power and the methods we might use to hold the powerful accountable for their abuses. But it's not so invested in exploring these ideas that it's willing to tone down the explosions and lethal violence. It gives us two protagonists who are like parodies of the characters they're meant to be. Batman is a terrible detective who hates Superman for endangering people's lives, but who kills criminals for no reason and doesn't care who gets hurt in his crusade for his idea of justice. Superman vacillates between cavalier and passive, either using his powers with reckless abandon or asking other people what he should do but not actually coming to a position himself beyond "being Superman is dumb." He acts like saving people is a chore (much like doing his assignments for the paper), like accountability and responsibility are grave impositions on his brooding time. The movie dwells a lot on parents and the lessons we learn from them, so maybe it's intentional that our three principal male characters are all emotionally-stunted man-children who need to grow the hell up. I doubt it, though. All this wouldn't be such a problem if we weren't continually being told by the text of the film that Superman saves people and is a symbol of hope and doesn't kill, that Batman is concerned about one man having the ability to kill and using it so irresponsibly. The text of the movie is at odds with the visuals, with the world that was created in Man of Steel, and with its own larger role in building a Justice League shared universe. And none of these elements quite jive with the story that the filmmakers clearly wanted to tell. So, in the end, just as in Man of Steel, we see the villain's philosophy validated. Power isn't innocent in this world. Everyone with power in this movie is corrupt or compromised, from Amajagh to Luthor to Superman to Batman to Perry freaking White. Even Wonder Woman is tarnished a bit when you realize that, according to her stated backstory, she didn't think it necessary to fight off the alien army that tried to kryptoform the world two years back. She just spends her time going to fancy galas. There might be an interesting story to tell along those themes, about how the powerful must either be corrupted or paralyzed by their power, but the movie can't decide what it wants to be. Is it a sincere meditation on the nature of power and accountability? A smash-bang action movie built around a classic superhero fight-then-team-up? A deconstruction of superhero morality in a real-world context? A mash-up adaptation of Dark Knight Returns and the Death of Superman? An exploration of the unintended consequences and human cost of these summer blockbuster set pieces? These ideas fight for dominance, and none of them ever quite gains the upper hand. The result is this muddled, cynical mess of an action-driven film that wants to say something important but never quite figures out what. Bottom line: if you want to watch a movie that attempts to explore the "must there be a Superman" question, features some brooding, an inconsistent tone, and a great cast doing their best with a story that can't live up to its potential, I know one that gets it done in half the time:

[templeofgeek]

Artist Caleb King, sat down with us and spoke about art, cons, books, and all things Geek!

  When did you first realize you had a talent for art? 

My father wanted to be an illustrator. Growing up, I would see him draw and paint tanks, and airplanes, and World War II vehicles. I thought it was awesome watching him draw an paint. Around 1993, I met with a friend who introduced me to comics for the first time. I had heard of characters like Batman and Superman, but had never read a comic. Suddenly, I wanted to draw like that. I wanted to make characters as cool as the ones I saw on the pages of these comics. Combine that with the wonder I felt watching my father paint in watercolors for a little project he had to do, and the spark was lit. I started sketching all the time. I rarely went anywhere without a sketchbook and pencils. I would copy panels out of comics, or trading cards I collected. I started devouring anything I could find that was in the comic book realm. Flash forward several years, and I had been touring with my band for a number of years, and we were beginning to wind down our touring schedule. We had been playing 200+ shows a year, and were burning out. But through all that time on the road, all those tours, I had been sketching, and drawing. I began making up stories and creating characters, and wanting to bring them to life. I decided to use the down time from touring to go study at the American Academy of Art in Chicago. Four years later, I walked away with a BFA in Illustration, and began sketching the characters, and writing the story that would become Surreality, my first comic. So, long answer to a simple question. Ha! I guess I never really thought I had a talent for art, but I had a determination to make it happen. I work hard at my craft, and I desire to be better. I’m always chasing that elusive image in my head. Hopefully I never catch it.

  When did you realize you could take you talent and turn it into a career?

I learned in school that we need to be driven to succeed at being an illustrator. We needed to go out in search of clients, as they were extremely unlikely to come to us, especially as new artists in a market like Chicago. I had mentioned my travels with my band. I spent the years between 1998-2005 on the road with them. It started slowly, with maybe 25 gigs in a year, and then blew up into a full blown 220+ days on the road for 3-4 years solid. It was nuts. We had a tour bus with beds, television, fridge, the works. We would drive to a gig, load in and set up, play, tear down, and drive to the next gig. We slept in the bus, and had hotels for the down days between gigs. It was awesome and terrible. I saw so much of the country in those years. Met a lot of cool people. I figured out who I was on the road. Part of the gig was hanging out at our merchandise table after the show to meet fans and sign autographs. I learned how to interact with people, how to talk to them. I learned how to be a real person, and still be a professional. I learned the ropes of making a merchandise display, and a bit of retail flair. When I graduated from the Academy, I took those same skills and applied them to my convention display. I had to learn the ropes of the convention circuit, but that was easy enough. Selling CDs and t-shirts at gigs was essentially the same thing as selling illustrations at a comic con.

Were you always into geeky things?

As far as I can remember, I’ve always had a love affair with Star Wars. I’ve never known a time when I didn’t love it. My father introduced me to all kinds of things growing up. Star Wars, Star Trek, George Romero’s movies, Mad Max. The list goes on and on. I’m grateful for those things.

Which Characters/Universe do you prefer painting the most?

I tend towards drawing Star Wars characters, and the Endless from The Sandman comic series, my all time favorite comic series, by the way. I can always find something new and exciting to draw from these sources. It usually sparks my creativity to work on something original.

You’re also working on a couple books, like Verse/Chorus and Cradle, which comes more naturally for you writing or painting?

I’ve always been a natural storyteller. I’ve been making up stories since I was a kid. In a way, it’s my first artistic language, though I have had no real training as a writer. I’ve read a lot, and I still read a lot, so I feel I’ve learned by absorbing the work of other storytellers. Hopefully it informs my writing on a subconscious level as well as in a tangible way. Drawing and painting is another natural language, but one that came from more work and focus. Music/Writing/Painting, they all seem to have chosen me.

illustrated by Nicolas R. Giacondino

Tell us more about Verse/Chorus and Cradle, where did it all start, where did the vision for each come from?

Verse/Chorus is a collaboration between myself, and my good friend Nicolas R. Giacondino. Nic and I met several years before while he was working on a creator owned project with fellow creator David Pauwels called Free Mars. David and I met at a comic con in Chicago, and he had asked me to do some work on Free Mars, though that never came to fruition. What did come of that, however, was a collaboration between Nic and myself that eventually led to him being the full time artist on Surreality, and the beginning of our first creator owned project, Verse/Chorus. Nic had posted an image he created on Facebook one night that was inspired by the Guns N’ Roses song “Estranged.” I loved the image, but also loved that he and I had a common musical interest. The chatted about bands for an hour or more, and Nic then made the comment that we should make a story about a rock band in that late 80’s, early 90’s period. Almost immediately, I came up with the concept of the book: A rock band that sells their soul to the devil for fame and fortune, only to lose it, and their lives, as fast as they got it. It is slated to come out in early 2018 from Source Point Press.

Cradle is a collaboration between myself and fellow creator Andrew Day. We both love outer space. We can talk stars, planets, black holes, and all manner of heavenly objects for hours. I had this concept that is based partly upon Fermi’s Paradox, which simply asks that if the universe is teeming with life, then why can’t we see evidence of it in space? Where are the colonies? Where are the structures? We could argue about the “evidence” of alien life, but that’s not the point. I like that question. I like that concept. I also had been reading about the concept of The Great Filter: a moment in the evolution of life/a species/a civilization whereby said life/species/civilization must pass through this filter and come out on the other side, or else perish. This filter can be many things, but it is a theoretical moment that all must pass through. The reason that we don’t see evidence of life in space, as one theory states, is that the have all failed to pass through this great filter. They all died out before they could become anything. Life failed the test. Cradle takes place in the far distant future, where humanity has colonized a majority of the Milky Way. They have long forgotten Earth, and out little part of the galaxy is empty. Cradle details the last days of mankind in a universe devoid of all other life forms, save humans. They only wish they could have seen it coming.

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illustrated by Nicolas R. Giacondino

illustrated by Nicolas R. Giacondino

illustrated by Nicolas R. Giacondino

You also have “Surreality” your on going web-comic, about a daydreaming slacker.  Did the inspiration for Sydney come from someone you know?

Surreality is the most personal story I’ve ever told. It is based on life experiences, fears, situations, and hopes I’ve had. All of the characters are based on aspects of my personality. Each of them are true parts of myself. When telling a story, you have to selectively edit reality, and distill it into something meaningful. It needs to flow better than reality does. I a very real and tangible manner, Surreality is my life. It’s also your life, and the lives of the readers. That. To me, is the essence of telling a tale based in reality. Most of the time I am selling copies of Surreality to people who have never heard of it before, and they are taking a chance on it. Often, they come back to me, or email me later, and tell me how personal the story seems to them. They feel like I’m writing their life. That, to me, is the power of storytelling. The power of story.

You are on the road going to a lot of cons, what do you love about con life? 

Con life is awesome. I love traveling and meeting new people, and fans. The road never truly leaves you. The community, the fellow artists, the crowd, this things are always good. I love it, even when it’s bad.

And what do you hate about it?

Con life is terrible. Con life is a lot of work. Booking shows, booking hotels, flights, managing expenses, renting cars, or arranging for transportation, etc. The actual exhibiting and selling your work is always a work in progress. I’m never truly satisfied with how my table is set up, so I’m always tweaking and re-working how I set it up. All of this distracts from, and often plays too big a role in, the development of my work. I am often basing what I’m creating around a con tour schedule, and that even dictated the content on some level. The two sides need each other, however. Without the pressure of having shows to have new work for, I might not be creating or working as hard as I am. It’s good to have pressure like that. I thrive on it, even when I dislike it.

Is there a con that you look forward to more than the others?

There are a few conventions I love attending. WonderCon in Anaheim, California is a personal favorite. The atmosphere, the crowd, the people, Disneyland (I’m a HUGE Disney nerd). It’s hard to beat. New York Comic Con, C2E2 in Chicago, and the New Orleans Comic Con, but I must confess, I go more for New Orleans than for the convention itself. Ha!

Are there any other projects you have lined up?

I’m currently finishing up some work on the Star Wars Masterwork trading card set for Topps, and continuing to work on Verse/Chorus, Surreality, and Cradle. It’s a lot of juggling, but I wouldn’t have it any other way.

Check out Caleb’s work and all updates here and Caleb’s Patreon. 

  Artist Spotlight: Caleb King Artist Caleb King, sat down with us and spoke about art, cons, books, and all things Geek!

[mistermangasan-blog]

One Punch Man Anime Featured

One Punch Man Anime Featured - On an unnamed Earth-like super-continent planet, strange monsters and supervillains have been mysteriously appearing and causing disasters. To combat them, the world's superheroes have risen to fight them. Each of the Hero Association's superheroes are ranked from S-Class which is the strongest to C-Class which is the weakest. Saitama is one such hero, hailing from the metropolis of Z-City. He has trained himself and grown strong to the point that he can effortlessly defeat any opponent with a single punch. However, Saitama became a hero for the fun of the experience, and he has lately become bored with his superhuman power and frustrated at the complete lack of strong opponents that can challenge him. Over the course of the series, Saitama encounters various superheroes, supervillains, and monsters. He gains a disciple in the form of the cyborg Genos and eventually joins the Hero Association in order to gain official recognition. He smashes an incoming meteor and defeats boss villains like the Deep Sea King. When the alien Dark Matter Thieves invade and destroy A-City, Saitama defeats their leader Lord Boros using pure punching power.     Saitama gets to know other superheroes in the group, becoming friends with old martial artist Bang and a superhero named King who is actually a cowardly nonviolent otaku, and also got his position for receiving credit for all of Saitama's previous victories. When the Hero Association executive Sitch tries to recruit villains to become superheroes, a villain named Garo emerges and starts beating down many of the other heroes, prompting the association to make a small effort to stop him. In order to learn more about martial arts, Saitama enters a tournament. More ferocious monsters start showing up in the various cities, wearing down many of the heroes. A group of them kidnap an Association sponsor's son. The Hero Association learns that the monsters have organized into a Monster Association and that they are also recruiting members by having fighters and others ingest monster cells that transform them into monsters that have far more power.--excerpt from Wikipedia.--        

One-Punch Man is one of those great breakout hits that deserve all the praise it gets and now its first season is readily available on Blu-ray and DVD. The premise of One-Punch Man follows the bald Saitama who just wants to be a hero for fun. Unfortunately, he is endowed with extraordinary power, as he can defeat every enemy he faces with simply one punch. What makes this setup work is in part its innate use of humor but also how it ties into things like tokusatsu enemy archetypes, as well as its overall narrative. While it initially seems that each episode is separate, the events in the early parts of the series give rise to things like the Hero Association, which both Saitama and his eager cyborg disciple Genosjoin later on.   What’s more, the series does a great job of sending up the incompetence of these kinds of bureaucracies, as they seem completely unaware of Saitama’s true powers. So when Saitama proceeds to destroy the Hero Association’s physical tests, they still initially place him as a C-Class hero because of his poor written examination. What's more, the public seems to think that Saitama cheats in his fights. The series then does a good job of showing that simply observing the surface of events rarely gives the truth of what actually happened. Having people such as the comedian Bill Burr almost instinctively pick up on this kind of satire shows that One-Punch Man is more than just a silly slapstick anime. However, the reason why you really need to see this series on Blu-ray is down to the quality of its animation.--exerpt from Ollie Barder  on Forbes.--   As a long time fan of comics, I must say that I am quite frankly tired of the “beware the Superman” style of storytelling, when it comes to using insanely powerful superheroes. Thankfully One Punch Man does a more comedic take on things. Saitama very well could kill everything if he wanted to, but he’s not some superhero on the verge of being a planet controlling tyrant or anything of the sort. He’s just really...really bored. All he wants for Christmas is an opponent who can take more than a single punch without turning to goo afterwards. He literally dreams of fighting such powerful foes.   Maybe it is just me, but for some reason I just feel like many times while I was watching One Punch Man, it was as if I was seeing an 80s rock album cover come to life. And I’m not merely talking about many of the shots in the epic opening, either. Many of the fight scenes, Saitama’s last fight of the season especially, are full of these kind of truly badass imagery. It doesn’t hurt that the soundtrack for this show is awesome as well, with Saitama’s personal theme starting with a very distinct, and sure to be iconic, guitar riff.--exerpt from Koda Kazar on Kinja.--                             Read the full article

[yourwiferuby]

Like, more specifically, Thor 1 does a lot of things that I think drive it far away from your average Superhero affair. And they’re really small almost subconscious things that I notice because I’ve been complaining about them for years.

I’m writing a lot, so I’ll be nice and put a cut. 

First thing it does different that is miles better than your average superhero flick, or for that matter, your average action flick. It doesn’t kill off the villain. Quick, right now, name me the bad guy from Die Hard. Of course you can do that. He’s Hans Grubber. Everyone’s favorite vague European bad guy. Now. Name me the bad guy from Die Hard 2. Tell me when you give up. William Stuart. Boring name, boring villain. That’s the problem of killing off your villain in your films. Your future films now have to spend time establishing a new threat, and rarely are they as interesting as your first. Often times they’ll be a re-hash of the same kind of threat. There are plenty of exceptions. But generally speaking, instead of being able to just jump into the next film, you’re stuck having to introduce and go through the backstory of some new threat. It’s overall wasteful. Want to know the secret to why Loki is so popular? Well, part of it is that he’s not just in one film. You establish a character across multiple films. This is a secret from comic books. You get attached to a certain villain and they return over and over again. The success of a movie sometimes isn’t just the hero, but the dynamic the hero and villain offer. John McClain is at his best when he’s fighting Hans Grubber. This is why Die Hard with a Vengeance brought in Grubber’s brother. Who isn’t nearly as interesting, but at least saves a bit more on time. (Quick, what was his first name?) 

Second thing that Thor does is it addresses the worst problem of superhero films. This also exists in action films as a whole, but not to the degree it does in superhero films. Origin movie. Even though we know who Batman is, every film has to go over his origin. Some will do it to death. Every Mad Max film we have to have a retread of why Mad Max is so mad. These are silly, but overall not much of a problem. The problem is when Amazing Spider-Man spends half the film on Uncle Ben’s death, and that death is a retread from Spider-Man 1. The problem is that half of Captain America the First Avenger is spent on getting Steve into the super soldier program. The problem is that comics have 75 years worth of stories and backstories to draw from and film makers want to use that source material and get out these complicated backstories in their films. Even if it’s not really needed. Now, does this mean we don’t spend half the film of Thor going over his backstory? Oh no. We do. But there’s a huge difference. Because Green Goblin and the Lizard have nothing to do with uncle Ben. Red Skull has nothing to do with the super soldier training. These origin stories split up the film into two parts. The origin and the bad guy fight. So the plot of our film is splintered and we rarely get enough of either to make it feel whole. Especially when it fights for time between the bad guy’s origin and the hero’s origin. Remember, sometimes they’re both just as important. Thor uses Loki, who is Thor’s brother. Their origins are different, but intertwined. So the plot of the film matches well with both of their origin stories and flows together strongly. Again, this strengthens the film’s plot and makes the villain even more interesting. Their origins match. (On a different note, you can also circumvent this altogether by avoiding your origin.) 

Third thing that Thor does is it actually makes a compelling villain. So, up to now we have two reasons why people like Loki. First is that we have more time with him, but we wouldn’t just like him if he’s there a lot. Second is that he’s attached to Thor in an origin story, which means he’s not having to compete with the hero for screen time with his origin story, but just because he has more time to tell his story doesn’t mean we’ll like him. The third reason is that Loki isn’t the Lizard. He’s not just going to destroy New York and make everyone lizards. He’s actually got a plan and a personality to him. Compare Loki to the villain of Thor 2, Malekith, an interesting villain from the comics who has no goal I can really think of. Having a goal that’s interesting is one part. But being a character more than just a character type helps too. Loki doesn’t just have one off lines about wanting his bird back to make up for a lack of character development, he’s got actual character depth. This makes conflict between the hero and the villain interesting and not just two dudes punching. And the film doesn’t backload this depth, like Civil War, (which also gives the worst kind of bare bones goal and “depth” to Zemo right at the very end of the film), Loki is a full character by the time the plot of the film is established. He even goes through his own little arc, even if it isn’t as grand as Thor’s. 

Those three are very villain focused, and honestly, that’s a huge problem with superhero films. Supervillains are just as important and often overlooked. Most superhero films and most action films for that matter, have very bland villains who seem little more than excuses for someone to be just evil. A good villain doesn’t have to think they’re the hero, but they can’t just be a cardboard cut out. This is why it’s so surprising and nice to see the Vulture, a two bit nothing character from the comics, be such a great character full of his own ideology and his own goals. Much like Loki, who is almost sympathetic (if it weren’t for being kind of a unscrupulous murderer), the Vulture doesn’t want to just take over New York City, he wants to provide for his family and take what he feels is rightfully his. Loki wants what he feels is rightfully his. That throne should be his. And seeing the jock-ish Thor just abuse his power on that throne, hard to blame Loki for thinking he should be the one sitting on that throne, especially after his own father gives him a BS reason why he can’t sit on it. I’m not saying he’s right, but I’m saying I can understand his point. That’s why the Vulture is interesting, that’s why Loki is interesting, and that’s why nobody likes Malekith. I mean, honestly, what the hell was he even trying to accomplish? 

But there’s more to why Thor is so good. Superhero films actually don’t take as much from comics as they do action films. There’s more Bruce Willis and Tom Cruise movies in Iron Man than there is actual Iron Man comics. That makes sense though. They’re action movies, and they’re following the trends that work for movies. The problem is that these characters aren’t John McClain. Superheroes aren’t reluctant knights who are on the verge of anti hero status and all too eager to kill. (Although I did just describe Batman from Batman v Superman really well.) Superheroes, even when they’re at their worst, are still heroes, and are still defined by being heroic. This doesn’t mean that Batman can’t be John McClain and kill people guns a-blazing. The problem is less what they’re making these characters do, it’s that these films are trying to eat their cake and have it too. Superman snapping Zod’s neck isn’t the problem. The problem is that Man of Steel never actually describes Superman or Jor-El or Pa Kent as having a specific value in upholding the sanctity of human life. He’s not breaking a code in killing Zod, so his struggle after killing him shouldn’t affect him anymore than John McClain killing Hans Grubber. But the film expects you to already think of Superman as thinking killing is always wrong. It’s supposedly setting up a character with a specific moral, then not following through with it. These characters can have plenty of different morals or ideologies that are important to them as icons. I could make a whole different post about Spider-Man Homecoming using the morals of Steve Ditko. Your very average one is that the hero doesn’t want to kill. If you have a film that’s mostly about the hero learning the sanctity of life, don’t be like Wonder Woman and end it with the character murdering someone. Wonder Woman is probably the worst example of this trend of not following through with it’s lessons and morals. Not just with Wonder Woman murdering someone right after learning a lesson about why murdering people is bad, but the film also tries to teach you the nuance of war, that rarely is war black and white, and presents it as such with heroic British/American soldiers fighting against German soldiers that deliberately evoke Nazism and occasionally near Islamophobic generic brown soldiers. So much for war not being black and white. It even tries to talk about the importance and power of women, but it then makes every major plot event happen because of Steve Trevor. Diana even learns her lesson about love because a man told her about it. What lessons it’s trying to tell you, it outright ignores and does the opposite. Thor doesn’t do that. If he’s a uncaring, unthinking brute, then he gets humbled and learns to think and feel for and about others. It shows his fault, and has him learn a lesson that actually matters to the story. It actually has a character arc that doesn’t kowtow to action movie cliches. 

Honestly, I’m not saying Thor is the greatest superhero film. What I’m saying is that it basically hits the bare minimum of what should be acceptable in a superhero film. It also has amazing character design that both evokes modernism and the classic Kirby/Simonson designs. The ending sequence first takes place during the day, avoiding the problem of night time fight sequences that are difficult if not impossible to follow because of how dark the scene is. When it does have dark scenes, it avoids fast movement across the screen and specifically designs characters so that they’re able to be recognized against the background. Doesn’t hurt that you have a rainbow bridge to light them up. It’s no masterpiece, but it’s absolutely better than any other Phase 1 Marvel flick and honestly any superhero flick before it, hands down. 

[totesmccoats]

Dark Nights Metal #2

Batman has stolen the most dangerous weapon in the universe, and the Justice League give chase. Meanwhile, the council of Immortals plan to find a way to kill Barbatos before his cult can summon them through Batman.

They may be too late.

There’s this saying in storytelling that you should start a scene 5 seconds into things so that your action has a running start. This issue exemplifies that perfectly, starting with Batman already having outsmarted the League, and baiting them with decoys upon decoys. It’s a genius way to remind us just how well prepared Batman really is without much actual set-up. And watching the League essentially open boxes within boxes until they reach the crunchy Batman center pays off like gangbusters.

And when Superman and Wonder Woman eventually do catch up with Bruce, the reveal is one of the best sight gags in comics history. Highlight below if you really need spoilers: Baby Darkseid in a baby bjorn 😀

And in the final pages of the issue, the shit hits the fan, and the real Dark Souls Nights Metal begins.

  Mister Miracle #2

Scott and Barda lead many successful campaigns against Darkseid’s forces, but none of it earns any respect from the new Highfather – Orion.

Instead, Orion sends Scott and Barda on a new mission – to kill Granny Goodness, the woman that tortured them through their childhood, while pretending to negotiate a treaty. But a half received message from Metron casts doubts on which side Scott should be fighting for.

Another great issue that probably couldn’t turn any more upside down than it does. The issue goes through stages: exhaustion by the endless warfare, then an unease while in Orion’s court as he compels his brother to bow to him, and finally uncertainty when Scott and Barda are “graciously” welcomed by Granny. You would think that GG would be the creepiest part of the issue, especially considering the reunion of abuser and abused, but she has nothing on Orion’s massive egotrip.

Luckily, King is skillful enough to break up the discomfort of the issue with one sweet, and incredibly relatable, scene of Scott and Barda trying to figure out how showers on New Genesis are supposed to work. Part of that sweetness is soured when it’s implied that one of Barda’s continuing insecurities was seeded by GG, and that GG knows it; but it’s the initial thought that counts, right?

Right now, Mister Miracle is an almost Hamlet-esque family drama above everything else – a deadly and divine Thanksgiving; and its completely gripping.

  The Flash #30

Infected by the black suit Negative Speed Force, Barry finally snaps at Singh and his fellow crime lab workers after they chastise him for investigating the missing samples alone. Luckily, Kristen won’t be pushed away so easily, and manages to talk him down in private, which leads Barry to a break in the investigation, which he follows up on as the Flash. Waiting for him is the thief, but he’s more than Flash bargained for.

I love everything about this issue. It’s just classic comics. Negative influenced Barry finally reaches his breaking point and angsts out in front of everybody! And then we get a new villain using a classic formula: after experimenting on himself, Bloodwork manages to turn his hemophilia into a psychic control over all blood. So good!

The Flash is on a roll right now, largely going back to superhero fundamentals, and knocking them out of the park.

  Wonder Woman #30

After being persuaded to be part of Hamilton Revere’s experiments to use her blood in regular people, Wonder Woman is told that he plans to use it to make super soldiers, not cure diseases. Realizing she’s been duped, Wonder Woman rescinds her help. And, realizing Diana has been led into a trap, Steve and Etta make their way towards rescuing her.

Following Fontana’s pattern so far, the prolonged fight scene in this issue is better than everything that comes after it. Diana’s running monologue where she says she will be a hero for humanity, but not a weapon, really works for her character, especially as she fights off partial Wonder-ized super soldiers working under Revere’s orders to – quite literally – bleed her dry. Wonder Woman will not be made an object.

But, the issues quality takes a sharp downturn almost immediately after the villain’s base explodes. It’s almost as though there were two writers on this book, it’s that drastic. Thankfully, it’s only for three pages, but it’s a sour note to leave this story, and this creative team, on.

  Amazing Spider-Man #32

Defeated, Norman Osborn searches once again to re-awake the Goblin inside himself, a search that leads him to the Temple With No Name, high in the Himalayas, to begin studying the arcane arts.

This is a one-shot, and a relatively insignificant one, all things considered, but a fine enough story in and of itself. I love the art of Smallwood and Bellaire, fresh off their run with Rucka on Moon Knight, and that meta-reference also is a small hint towards how this story winds-up.

But, honestly, Osborn isn’t as compelling a character as Slott would like him to be in this issue, and acknowledging that the story is similar to those of other magic users in the Marvel Universe isn’t an excuse for the lack of anything novel in this telling.

  Ms. Marvel #22

Just having found out that Jersey’s newest villain is one of her school friends, and revealing her own secret identity as a way to reach him, Ms. Marvel is just barely able to escape from Lockdown. Totally exhausted, and opposed by half the city, Kamala is lucky that the other half has her back, and also, that she’s friends with a teleporting dog.

Between this and Black Bolt, Lockjaw is in the running to be this month’s Marvel MVP. The rest of the issue is fantastic, too, demonstrating the power of a community to rise up against the parts of it that would destroy them from within. More heroic than Kamala are Nakia and Tyesha, who lead a march to the mosque where KIND has their kidnapped inhumans surrounded, and present them with a document from the court proclaiming their actions to be illegal. She’s also backed up by the rare good cop, and recently former mayor Marchesi.

After a quick refueling at a friendly neighborhood Mediterranean restaurant, Ms. Marvel hops back into the fray, but in this issue, the day is truly won by the people, whom, united, can never be defeated.

  Unbeatable Squirrel Girl #24

Ultron is a T-Rex now! That’s all you need! Also, Squirrel Girl teams up with Antonio the Doombot to try and stop Ultron, who is a T-Rex now.

Henderson and Renzi do some neat things with Ultron’s iconic face-lights cutting through the darkness in the beginning of the issue, and it’s almost a shame they don’t keep it up longer. But, almost as quickly as they finish doing that, North introduces us to Antonio the Doombot, who continues this series’ tradition of scene-stealing robots; although Ultron doesn’t let Antonio do so easily.

  Kill or Be Killed #12

After killing the guy who threatened Kira, Dylan realizes that if he really wants his newly improved relationship with Kira to last, he’s going to have to bring down the entire Russian mob before they can harm her or himself.

What strikes me most about this issue is the contrast between happy Dylan and vengeful Dylan. On Halloween, Dylan realizes that every moment he gets to spend with Kira is a miracle, and joyously wonders the city with her until they settle into each-other’s arms at the end of the night.

But then he’s consumed by vengeful Dylan, who compels him to stake-out a Russian Mafioso until he can lead him to his boss and tell him everything he knows before killing him in cold blood. He ruminates on how he’s learned to ignore his fear response because he’s realized that he’s not the first or only murderer among humanity. He’s ruthless, calculating, and single-minded. And you being to wonder how these two Dylans could possibly be the same person.

  Redlands #2

OK, this series is going in a very different direction than I expected. Having successfully liberated the town of Redlands, Florida; Bridget, Alice, and Ro became the new police force. Their latest case is chasing “Redbrant,” an “artist” murderer who poses his victims in symbolic positions while stuffing their bodies with alchemically treated rose-petals, and paints solid red canvases with their blood. Moreover, he knows about Bridget, Alice, and Ro’s witchcraft, and wants to expose them to the world.

If this series decides to settle into Witch Law & Order, I am totally here for that if this issue is any indication of how that would pan out. But Bellare has also clearly built a much deeper world with Redlands, full of – besides witchcraft – artistically predisposed murderers, and perverted high-school principals that prey on their students. Redlands may be run by witches, but men still be creepy.

Coming off its explosive cold-open of an issue, Redlands is still warming up, but I’m excited to see where else this series decides to go.

Comic Reviews for 9/13/17 Dark Nights Metal #2 Batman has stolen the most dangerous weapon in the universe, and the Justice League give chase.