Batman By Sanford Greene

his swagless looks and cringe fail personality have captivated me

Paige leaves behind Carpenter and Faulkner in search of a new god.

She doesn’t really know how to go about such a thing. She’s more than well versed in strengthening a god, years of practice have made her far better at cultivating worship than any preacher, but the search for a god is something she lacks background in.

At a loss for what else to do, Paige drives.

She keeps the silence for a while. Hoping that being alone with her thoughts might lend her mind to some form of holy revelation. She manages to keep that up for almost twenty minutes before she sighs in anxious boredom and starts fiddling with the radio dial.

Static gives way to whispering voices gives way to a prophet of some new religion. Paige turns the sound up in sudden interest.

“-dream is to create. Dear listeners, we have reached a new stage. An apotheosis, if you will. I have metamorphasised from a decaying, droning worker, asleep to all the things that matter, to a new man with new purpose in my heart. I have gone from a sacrifice to something sacred. Something new. My god saw me about to devote myself to a deity of unholiness and was so gracious as to call me to something deserving of my worship. And, in answer to that calling, let us sing our next hosanna-“

Paige keeps listening to the radio, fighting against the tiredness nipping at the edges of her consciousness as she does so. There’s banging in the background, the soundproofing of the room the host is in quieting it enough that you don’t hear it at first, but it’s certainly there. Sometimes it drops away, presumably when whoever’s trying to get into the recording booth succumbs to the sleep that Paige is fighting so valiantly against. It keeps coming back and Paige thinks that a lot of people must be very desperate to get this man to stop worshiping his god.

Coming to a decision, Paige pulls over and gets a map out to try and find the radio station this prophet must be broadcasting from. She wants a new god after all, a gentler one than any she’s been provided with so far. And even if this man's god is not her god, and Paige suspects that it is not, then maybe he’ll still be able to tell her how to birth something she can worship. Just like he did.

His every interaction with cat woman was him asking “is this how people make friends?” and her answering “I want to peg you”

Never witnessed a more aro ace man than Bruce Wayne in the Batman movie in my life

If Mrs. Monroe, head of maths at Gotham Prep, had to describe Dick Grayson in one word it would be ‘prefect’.

If she were allowed two she would say ‘worryingly perfect’.

She didn’t keep up with the media storm around Bruce Wayne’s ward as it happened, but when she heard that the kid would be in her class she decided that she had better catch up with it. She reads about how the boy came from a travelling circus and how his parents died in an accident (or was it a murder? She isn’t quite sure). She reads that after coming from a working class background he’s just been placed with the richest man in the city during a particularly traumatic time. Everything she sees worries her to no end and as she walks in on Monday she braces herself for a boy to turn up made up of grief and fear for being in this strange, strange place that’s nothing at all like the circus where he grew up.

Instead, Dick Grayson walks into class seeming like a perfectly well adjusted young boy who she would never have guessed had endured anything particularly awful in his life.

All lesson she waits for him to slip up, to show that he’s going through something terrible. Then he doesn’t and she waits for the rest of the week. Then she’s left waiting for the rest of the month and, after that, the rest of the year.

Dick Grayson never slips up. He has plenty of friends, even though he never seems that close with them, he’s the best in her class, even though he never had formal schooling before, and he never seems at all out of place at Gotham Prep.

She’s mentioned it to the other teachers, that something about how good the kid is bothers her, but none of them seem to pick up on it. They all just offer testament to how well Dick’s getting on at Gotham Prep and how it just goes to show how much potential the boy has.

So Mrs. Monroe waits for Dick to slip up and tries not to worry too hard.

~

During the summer after Dick’s first year of school (having placed first in all his classes, naturally) Mrs. Monroe sees him outside of school for the first time.

It’s a nice day and her husband is away on business so she decides to take the time to go on a walk by herself. As she’s turning onto one of Gotham’s nicer streets she almost runs directly into Dick.

He’s with three other boys. They all seem older than him but it only surprises her a little since one of the many things on Mrs. Monroe’s list of ‘reasons why Dick Grayson is a very worrying boy’ is that he’s oddly mature for his age.

When Dick sees her he stops and smiles, and Mrs. Monroe can’t help but smile back.

“Hi Mrs. M,” he says. She notices that he’s leaning closer to the boys than he does with any of his school friends.

“Hello Dick. I hope you’re having a good holiday.”

“Totally Miss-” he starts, but then one of the boys, with brown hair and a confident gait, stops him by landing a heavy arm around his shoulders.

“Sorry to interrupt, but we’re having a boys night.” he says, “So we’ll just be on our way.”

The other three let out long-suffering sighs and Mrs. Monroe feels like she’s missing out on something.

“One, it’s daytime.” says another of the boys, black with close cropped blonde hair, “and two, the only reason the others aren’t here is because they’re actually having a girls night and kicked us out.”

The only one who hasn’t spoken yet nods seriously.

“Well I wouldn’t want to keep you,” answers Mrs. Monroe, not quite sure what else to say, “I’ll see you again when school is back in session, Dick.”

Dick nods happily while the rest of the boys wave goodbye to her and make their way onwards.

As Mrs. Monroe walks home she thinks about the encounter. She knows that none of those boys go to Gotham so they must be friends from something else. The way they had acted around each other though, well, she doesn’t think that she’s seen Dick that close with any of his friends at school.

Thinking about it, he’d seemed a little more human in that group. Less like the perfect student and popular kid he always was at school.

Whatever it was seemed good and after that encounter, Mrs. Monroe worries about Dick Grayson a little less.

people arguing over fanon vs. canon batfam is so funny considering the comics wouldnt know character consistency if it hit them over the head with a steel bat

“Sooo is that a yes??”

Never witnessed a more aro ace man than Bruce Wayne in the Batman movie in my life

Hi there! If you feel up to it, would you be willing to expand a bit more on the idea of white creators creating poc characters who are ‘internally white’, especially in a post-racialized or racism-free setting & how to avoid it? It’s something I’m very concerned about but I haven’t encountered a lot of info about it outside of stories set in real world settings. Thanks & have a good day!

Hey, thanks for asking, anon!  It’s a pretty nuanced topic, and different people will have different takes on it.  I’ll share my thoughts on it, but do keep in mind that other people of colour may have different thoughts on the matter, and this is by no means definitive!  These are things I’ve observed through research, trial and error, my own experiences, or just learning from other writers.

The first thing I guess I want to clarify is that I personally am not opposed to a society without racism in fiction.  It’s exhausting and frankly boring when the only stories that characters of colour get are about racism!  So it’s a relief sometimes to just get to see characters of colour exist in a story without dealing with racism.  That being said, I feel like a lot of the time when creators establish their settings as “post-racial,” they avoid racism but they also avoid race altogether.  Not aesthetically -they may have a few or even many characters with dark skin- but the way the characters act and talk and relate to the world are “race-less” (which tends to end up as default white American/British or whatever place the creator comes from).  Which I have complicated thoughts on, but the most obvious thing that springs to mind is how such an approach implies (deliberately or not) that racism is all there is to the way POC navigate the world.  It’s definitely a significant factor, particularly for POC in Western countries, but it’s not the only thing!  There’s so much more to our experiences than just racial discrimination, and it’s a shame that a lot of “post-racial” or “racism-free” settings seem to overlook that in their eagerness to not have racism (or race) in their stories.

A quick go-to question I ask when I look at characters of colour written/played by white creators is: if this was a story or transcript I was reading, with no art or actors or what have you, would I be able to tell that this character is a character of colour?  How does the creator signal to the audience that this is a character of colour?  A lot of the time, this signal stops after the physical description - “X has dark skin” and then that’s all!  (We will not discuss the issue of racial stereotypes in depth, but it should be clear that those are absolutely the wrong way to indicate a character of colour).

This expands to a wider issue of using dark skin as a be-all-end-all indication of diversity, which is what I mean by “aesthetic” characters of colour (I used the term “internally white” originally but upon further reflection, it has some very loaded implications, many of which I’m personally familiar with, so I apologize for the usage).  Yes, the character may not “look” white, but how do they interact with the world?  Where do they come from?  What is their background, their family?  A note: this can be challenging with diaspora stories in the real world and people being disconnected (forcibly or otherwise) from their heritage (in which case, those are definitely stories that outsiders should not tell).  So let’s look at fantasy.  Even the most original writer in the world bases their world building off existing things in the real world.  So what cultures are you basing your races off of?  If you have a dark skinned character in your fantasy story, what are the real world inspirations and equivalents that you drew from, and how do you acknowledge that in a respectful, non-stereotyped way?

(Gonna quickly digress here and say that there are already so many stories about characters of colour disconnected from their heritage because ‘They didn’t grow up around other people from that culture’ or ‘They moved somewhere else and grew up in that dominant culture’ or ‘It just wasn’t important to them growing up’ and so on.  These are valid stories, and important to many people!  But when told by (usually) white creators, they’re also used, intentionally or not, as a sort of cop-out to avoid having to research or think about the character’s ethnicity and how that influences who they are.  So another point of advice: avoid always situating characters outside of their heritage.  Once or twice explored with enough nuance and it can be an interesting narrative, all the time and it starts being a problem)

Another thing I want to clarify at this point is that it’s a contentious issue about whether creators should tell stories that aren’t theirs, and different people will have different opinions.  For me personally, I definitely don’t think it’s inherently bad for creators to have diverse characters in their work, and no creator can live every experience there is.  That being said, there are caveats for how such characters are handled.  For me personally, I follow a few rules of thumb which are:

Is this story one that is appropriate for this creator to tell?  Some experiences are unique and lived with a meaningful or complex history and context behind them and the people to whom those experiences belong do not want outsiders to tell those stories.

To what extent is the creator telling this story?  Is it something mentioned as part of the narrative but not significantly explored or developed upon?  Does it form a core part of the story or character?  There are some stories that translate across cultures and it’s (tentatively) ok to explore more in depth, like immigration or intergenerational differences.  There are some stories that don’t, and shouldn’t be explored in detail (or even at all) by people outside those cultures.

How is the creator approaching this story and the people who live it?  To what extent have they done their research?  What discussions have they had with sensitivity consultants/readers?  What kind of respect are they bringing to their work?  Do they default to stereotypes and folk knowledge when they reach the limits of their research?  How do they respond to feedback or criticism when audiences point things that they will inevitably get wrong?

Going back to the “race-less” point, I think that creators need to be careful that they’re (respectfully) portraying characters of colour as obvious persons of colour.  With a very definite ‘no’ on stereotyping, of course, so that’s where the research comes in (which should comprise of more than a ten minute Google search).  If your setting is in the real world, what is the background your character comes from and how might that influence the way they act or talk or see the world?  If your setting is in a fantasy world, same question!  Obviously, avoid depicting things which are closed/exclusive to that culture (such as religious beliefs, practices, etc) and again, avoid stereotyping (which I cannot stress enough), but think about how characters might live their lives and experience the world differently based on the culture or the background they come from.

As an example of a POC character written/played well by a white person, I personally like Jackson Wei and Cindy Wong from Dimension 20’s The Unsleeping City, an urban fantasy D&D campaign.  Jackson and Cindy are NPCs played by the DM, Brennan Lee Mulligan, who did a good job acknowledging their ethnicity without resorting to stereotypes and while giving them their own unique characters and personalities.  The first time he acted as Cindy, I leapt up from my chair because she was exactly like so many old Chinese aunties and grandmothers I’ve met.  The way Jackson and Cindy speak and act and think is very Chinese (without being stereotyped), but at the same time, there’s more to their characters than being Chinese, they have unique and important roles in the story that have nothing to do with their ethnicity.  So it’s obvious that they’re people of colour, that they’re Chinese, but at the same time, the DM isn’t overstepping and trying to tell stories that aren’t his to tell.  All while not having the characters face any racism, as so many “post-racialized” settings aim for, because there are quite enough stories about that!

There a couple factors that contribute to the positive example I gave above.  The DM is particularly conscientious about representation and doing his research (not to say that he never messes up, but he puts in a lot more effort than the average creator), and the show also works with a lot of sensitivity consultants.  Which takes me to the next point - the best way to portray characters of colour in your story is to interact with people from that community.  Make some new friends, reach out to people!  Consume media by creators of colour!  In my experience so far, the most authentic Chinese characters have almost universally been created/written/played by Chinese creators.  Read books, listen to podcasts, watch shows created by people of colour.  Apart from supporting marginalized creators, you also start to pick up how people from that culture or heritage see themselves and the world, what kind of stories they have to tell, and just as importantly, what kind of stories they want being told or shared.  In other words, the best way to portray an authentic character of colour that is more than just the colour of their skin is to learn from actual people of colour (without, of course, treating them just as a resource and, of course, with proper credit and acknowledgement).

Most importantly, this isn’t easy, and you will absolutely make mistakes.  I think the most important thing to keep in mind is that you will mess up.  No matter how well researched you are, how much respect you have for other cultures, how earnestly you want to do this right, you will at some point do something that makes your POC audience uncomfortable or even offends them.  Then, your responsibility comes with your response.  Yes, you’ve done something wrong.  How do you respond to the people who are hurt or disappointed?  Do you ignore them, or double down on your words, or try to defend yourself?  Just as importantly, what are you planning to do about it in the future?  If you have a second chance, what are you going to do differently?  You will make mistakes at some point.  So what are you going to do about them?  That, I think, is an even more important question than “How can I do this right?”  You may or may not portray something accurately, but when you get something wrong, how are you going to respond?

Essentially, it all comes down to your responsibility as a creator.  As a creator, you have a responsibility to do your due diligence in research, to remain respectful to your work and to your audience, and to be careful and conscientious about how you choose to create things.  It’s not about getting things absolutely perfect or being the most socially conscious creator out there, it’s about recognizing your responsibilities as a creator with a platform, no matter how big or small, and taking responsibility for your work. 

In summary:

Research, research, research

Avoid the obvious no-no’s (stereotypes, tokenization, fetishization, straight up stealing from other cultures, etc) and think critically about what creative choices you’re making and why

Do what you’re doing now, and reach out to people (who have put themselves out there as a resource).  There are tons of resources out there by people of colour, reach out when you’re not sure about something or would like some advice!

Responsibility, responsibility, responsibility

Thank you for reaching out!  Good luck with your work!

its a legal requirement that all nightwing drawings need fangs now srry I dont make the rules

also this is super messy but I didn’t wanna finish it so WUDHCNHA ALSO ALSO pls talk to me w the ask me anything button i wanna talk to ppl pstpsptpst

Why don’t tumblr people watch robot wars? Like a bunch of homemade scrap metal death machines beating each other to pieces? There is both a flame pit AND a catapult? People watching their creations being absolutely MAULED and then having to completely rebuild this complex robot in like 10mins before their next fight? I thought you people would be on this already smh

dc comics || jodi picoult