Sometimes I Feel Like Us As The Bat Family Fandom Forget How Starry Eyed People Get About Nightwing Canonically.

Do you think Zoro has ever looked at Rayleigh and felt his insides freeze from fear? Do you think he sees a version of his own future where despite everything he’s tried, despite all the blood he’s shed and would go on to shed, his captain would still slip away from his hold — and he’d be left adrift for the rest of his days, drinking to oblivion, alone, bereft of any and all purpose?

Or do you think Zoro would be filled with contempt instead, and disgust at how the peerless Dark King failed to save his own captain’s life, even though it was no fault of his? Do you think Zoro, possessing the stubbornness and bravado of a much younger man, would insist that if it were him, nothing — absolutely no man or force in the universe — would be strong enough to rend him from Luffy’s side, and if Luffy had to die like Roger had to die, that Zoro would simply follow him to the afterlife?

Or do you think perhaps he’s unable to picture it at all — a life without Luffy’s warmth — so he ignores the many parallels between them and avoids contemplating the matter entirely? Perhaps he rather pities Rayleigh, because the former right hand man of the Pirate King should be free, but Rayleigh will never again know the meaning of the word, haunted as he is by a ghost he can’t bear to exorcise.

A lotta y'all be writing Dick as this terminally lonely man with no friends like 3/4s of the DCU isn't fighting over who gets to be his emergency contact

The amount of people calling nightwing pretty boy is actually insane like

He will literally shove his escrima into someone’s ears, electrocute them, and then give em a round house kick for good measure and somebody in the distance will be like, “who’s the pretty boy?”

thinking about lawrence and bellini and how they think they know each other, and they do, but not without the clarity each expects...bellini's 'don't be so naive' comment comes out with such force. he's been holding that between his teeth for years. decades maybe. all the time bellini spent struggling with his ambitions, his resentments.

it's only now during the conclave that will make or break his career and redeem the course of his life, his chance to step up and take up the mantle of the dead friend he is grieving deeply. it's now that it comes out - how much he has been living like a politician.

presenting himself one way, upholding the virtues of justice and humility, enjoying his own flair in throwing down the gauntlet, listing all his ideals and principles.

add: dramatic refusal. add: dramatic exit. performing so well, even his oldest friend cannot see it. cannot see him, for who he is. and so of course lawrence's trust and belief in him cannot be true; but bellini can't help but crumble when it starts eroding.

he is a false icon and a false man. he envies what he sees of lawrence, the doubts he has which are turned towards god and not towards the church (a doubt he shared with the late pope, and can only confess to it through him, even in absence). his self-denial that keeps him safe from ambition, that makes it terribly easy to set aside as competition, makes him safe to rely on.

except lawrence has a courage bellini can't replicate. an ability to respond to circumstances and not merely react and hesitate due to the possible costly outcomes.

because he is brilliant, he can see risks so clearly, he is so deeply aware of the weight in every decision and that hinders him terribly, it is the hubris of the righteous, a self-hating sense of responsibility. who else but him should be pope?

the big test of character he faces is not a scandal with victims or a crime: it is only disappointing a friend, disappointing himself. only that. a very quiet thing happens, behind closed doors, like so many other quiet things.

lawrence breaks the papal seal. he breaks vows and promises and protocol and ritual; he broke faith with the institution they have served together for decades, and so bellini cannot hold faith with him, or the truth he is trying to bring to the light.

the truth does not, then, matter as much as the look of the thing. the risk is too great. oh, it is always too great, for aldo bellini to take.

it is only when he loses lawrence's faith, the last steady old living faith lawrence has, that bellini realizes he does not have it in him to live by integrity. what an ugly thing to know, and to learn from someone renouncing him, the one person he thought would not.

lawrence makes clear bellini's weaknesses, as he does for the rest, and bellini sees him clearly in the light of day after a night of looking at himself, and he is very sorry, and grateful to him, for being the crucible. the least of all evils, and the one who cuts closest to the bone.

he looks at the darkness inside himself and apologizes. so quickly, so simply.

bellini apologizes; he makes amends; he offers supports, upholds the mirror as lawrence did, works towards a better future. it is another day. he is a politician, and it is another day.

when they reconcile he says: it is shameful to live this long and not know himself. and it is then, because he says that, at his prompting, in the example of that peculiar courage bellini has and thinks he does not have, that lawrance admits it. he does have a name scrawled in his heart, a small ambition; he is capable of wanting, even he would rather not.

and still, bellini leads the way for lawrence. in facing his failures to live up to his image of himself, in the possibility not only of regret and shame and struggle for dignity when facing the certainty of defeat (adeyemi) or denial, incomprehension (tremblay) - but in making amends.

lawrence's old trust in him is not baseless or empty, there is love between them still, because bellini is not that good of a politician, it turns out; he doesn't have what it takes to stick it out, to pretend at a thing he cannot be.

he is too true for it. he is brave, only not in the way he sought to be thought of. a quieter thing, less emphatic, more powerful by far. he is so clearly exhausted of himself. pretending at certainty is so much more treacherous and exhausting and dangerous than doubt admitted. and humility, the scholar learns, is the only possible road for knowledge of the self and the other and the world.

don't be so naive thomas. don't be so naive. but in the morning it is bellini asking for the name john, preparing in expectation and hope for his friend the moment he would ask him the term of his papacy after being elected. he asks without resentment, and with a new belief in him, a true understanding.

a reverse-baptism, which never happens, except for how it exists between them. what is the name of your fearful desire, your sin, your hope in the midst of hopelessness, your weakness like my own?

the dangerous ones are the ones who want to be elected. but aldo bellini is the one person who says, everyone wants it. he denies the possibility for false pretenses.

and because it is his friend who speaks of it, not tremblay accusing him of it or benítez offering it freely, but aldo bellini who asks what is the shape and sound of his secret faith in himself, lawrence can admit it.

if he can forgive bellini for it, he has to forgive himself. if bellini can face what sort of man he is, so does he. and he doesn't, of course, forgive himself for it, or give himself much of any grace. but he begins to believe that is it possible others might truly know his doubts and desires, and not look away, or be appealed, betrayed, renounce him for his humanity. bellini doesn't.

they see each other clearly now. they sit on the same bench, apart from the rest of the world, secluded in friendship.

in the script, after the explosion, they walk arm in arm for the last vote.

Gojo Satoru is the prime example of a character whose very existence is rooted in weaponisation. His dehumanisation is so severe that it serves as a point of origination for who he really is. And while it is a fact that Gojo, as the strongest sorcerer, cares very little for his inherent weaponisation, it still doesn’t make his character any less tragic. Canonically speaking, Gojo used his weaponisation to bring his long term goals into motion, without his dehumanisation, the narrative would be very fractured. This is why the hidden inventory arc was the rawest, most jarring arc of the entire series because not only does Gojo get a taste of normalcy but gets hooked onto it to the point that he, a weapon of the Jujutsu society, lets a mass murderer roam freely for ten years. Gojo’s weaponisation is tragic when you see it from the lenses of a viewer. Because at his very core, he is human, which is why his blue spring of youth serves as the point where the entire trajectory of the manga changes because it is when he experiences something akin to normalcy. Obviously this doesn’t take away from the fact that Gojo himself uses his weaponisation to his convenience and often asserts himself a weapon to fulfil his motives but it just gives a lot more dimension to his character. He is not someone who pities himself for being a weapon, because he has honed himself as a weapon, along with the very narrative but that doesn’t take away from his innate humanness.

From having a bounty on his head from the moment he was born to experiencing a taste of youth, to loving and living and losing and then dedicating himself to give the next generation of sorcerers the youth they deserve, to fighting and dying by the hands of the strongest. Gojo fulfils his role not only as a weapon but also a human.

I get emotional thinking about how his family would react to Bruce's change if he ever started working on himself, on improving his behavior. But the one I think about the most is Dick Grayson.

Alfred is the one who was there from the very beginning, but Dick Grayson is who arrived and made the biggest impact. He's the first kid who Bruce took in, the one who approached this man and became his first partner to fight by his side out in the night.

Dick was able to pull Bruce out of the darkness that consumed him. No matter how many times Bruce went back, Dick's presence was a constant reminder that there's not only shadows. That if Bruce pushes back, fights so he won't be dragged down, he will find light.

However, it was a cycle. Dick would get him out, but Bruce would go back, sooner or later. And repeat. And Dick realized this and knew he couldn't let that be his whole life. But despite the distance, it still affects Dick knowing he can't find a definite solution for Bruce.

So, seeing Bruce actually change, get better and seeing that last...it would lift the heaviest weight on Dick's shoulders, who's felt responsible for Bruce's emotions since the day he became Robin.

It's been implied to him that Bruce needs him, that he's who keeps him from falling. And Dick, despite not always feeling like he is enough, carries with that responsibility because, deep down, he also feels like he owes it to Bruce, who Dick has needed (still needs) present in his life, too.

Bruce getting better would be like being able to breath again, but it would be so suffocating too.

Dick would happy for Bruce, for the man who raised him. He'd be relieved that the hurt will stop, for both his father and those he's continuously pushed away. But then he'll be anxious, will it really last? How long until he can be sure? And he'll be scared, does he still need him, now? Does a Batman who's gotten help still need Dick Grayson Robin? Nightwing? And lurking in the back of his mind, there'd be anger. Why now? Why after all those years? Why not before? Was Dick not enough reason to change? Was he never worth this? And shame will drown those thoughts. It's selfish, to think that way. He should be happy. He wants to be happy. He is happy. But he is also mad. He's sad and he mourns the child who never saw this side of Bruce. And most of all, he loves. He loves Bruce too much to hate him for it. No matter how angry, no matter how hurt, he loves his father and he's grateful for him, for his efforts. And all he can do is smile and congratulate him because that's everything he feels he has the right to say.

And when all is said and done, Bruce will come to him and Dick will have to face the worst part of this change;

Apologies.

If Bruce has truly changed, then he would know there's more things than he can count with his fingers that he has to apologize to his son for. And out of everything else, this is what Dick Grayson fears the most.

Dick can take it, he can hear Bruce out, but he can't unpack all the pain he's been accumulating in front of his dad. He can't bring himself to say 'I forgive you' out loud despite having convinced himself long ago that it's alright.

Bruce doesn't didn't do apologies. Things happened and then went back to normal and Dick was okay with that. He forgave him, he did. So, Bruce doesn't need to apologize, he doesn't have to make him say it out loud. He can't tell him, but he's forgiven him long ago. Even if it hurt, even if he was still resentful sometimes, even if he wanted to yell at him for it, Dick could push it all down and forgive him. Bruce shouldn't apologize, shouldn't bring it up again because Dick isn't strong enough to keep it all bottled up if Bruce starts acknowledging it, if he confirms that Dick wasn't crazy for feeling wronged and hurt.

He can take it, but he really can't.

Just thinking about it drives me crazy because, out of everyone, Dick Grayson might be the kid who's been waiting for this the longest, and who thought he'd already given up the idea of his father finding a lasting happiness that would bring permanent change in him. And it would be just so overwhelming.

Okay, I hear you folks loud and clear. Here it is.

How Suo foils Sakura as a character

For starters, their personalities, on the surface, are quite different. Sakura is rather brash, but he is very upfront about his feelings and takes initiative when needed. Suo carries himself with dignity and grace, but remains passive and would much rather observe a situation unfold at a distance.

This translates into the way they fight as I’ve mentioned before. Aside from their fighting styles being completely different (Sakura’s kickboxing is close contact while Suo’s aikido lacks contact and focuses on deflecting attacks), the way they treat their opponents differ. While Sakura makes an effort to understand Togame, Suo imposes his own (contrived) worldviews on Kanuma. Sakura converses; Suo monologues.

Speaking of Umemiya’s philosophies, Sakura is known to eat a lot ( @furinfry made a really nice writeup on this theme, and they explain it much better than I can), even being dubbed a glutton by… Suo. Which is funny, because it’s been shown that Suo himself doesn’t consume food around others, claiming to be on a diet.

If Suo’s refusal to eat is a metaphor for his self-alienation from his peers, then Sakura’s acceptance of Umemiya’s advice is proof of his assimilation to Furin.

On the topic of alienation, Sakura is vulnerable and wears his heart on his sleeve; he unintentionally lets people into his world whether he realizes or not. Suo does none of these things—and his emotions are either (unintentionally) drawn out by the people he cares about, or when he witnesses something that contradicts his principles.

Sakura hates covering his appearance, while Suo makes it a point to do so (given that he literally wore a scuba suit to a beach).

The way they treat Nirei post-KEEL also differ. Suo is concerned for Nirei and helps foster his fighting skill to the extent of abilities, but Sakura remains rather ‘wary’/protective of Nirei (obligatory dead wife flashback mention)

There’s also the case with how they handle other people’s situations. Suo first observed and evaluates, then shares his own rational conclusion while Sakura tends to be upfront of what he feels about it.

The way their internal dialogues are written also differ. Sakura’s focuses on himself and his introspections (given that he’s the MC), and they’re very descriptive. But Suo’s is limited; he simply addresses the situation around him. The only time he introspects is to put himself below Sakura.

I’m probably missing a lot of things, but these are the ones I can think of off the top of my head.

Additional Tidbits which add no value to this post:

Sakura’s flower is the Cherry Blossom, a tree that is so rooted in Japanese culture. Suo’s is the Chinese redbud, which is well… inherently Chinese (gotta tag @psychicwavementality for this one)

Sakura is learning how to cook, but Suo makes it a point that he prefers to bake instead

Sakura develops throughout the story, but Suo stays rather stagnant (I really want to make a writeup on this which also talks about Nirei’s development soon)

Suo’s character color is red; Sakura’s color is sometimes green (representing Furin). Both red and green are complementary colors on the color wheel.

How do you feel about suo character? Do you feel his arc will start after kiryuu?!

Suo! my little shit! my favorite instigator!

jokes aside i love Suo! he's an incredibly interesting character and not just because we know jack and shit about him

he's a good foil to both Sakura and Nirei and i would love to study him under a microscope and all three of them play off each other So Well

Suo was really the one to break the ice when Sakura first arrived at Furin, which considering how Furin is probably wasn't really something that Sakura would've needed in the long run but it made things easier especially for Nirei's nerves

he does a lot of small things in the beginning (showing off how he can get people to accept his requests like he says himself side note love how both of these examples involve Sugi)

it's kind of funny in the way that Nirei's usually the first one to reach for Sakura (i talk about it more in my ramble here), Suo acts as the kind of bridge to allow Sakura to reach others or vice versa (others reaching to Sakura i mean)

during the grade captain vote, no one was speaking up to volunteer themselves or others and only when Suo volunteered Sakura did the others speak up to agree but also spoke highly about Sakura in the same vein or again going back to him breaking the ice with Sakura meeting the rest of 1-1

i love his relationship with both Sakura and Nirei (do not fucking separate this trio /hj) and how they both affect him

Suo's true emotions, hell possibly even his "real" self under all the masks he puts up, are brought out because of Sakura (his proclamation of taking the top spot and his clear, honest passion) and Nirei (running away from where Suo was protecting him so he could properly focus on the fight)

(anther side note i think this panel is one of the few times we've seen him lose his composure)

which actually kinda brings me to another point and it's a very small one but interesting nonetheless to me but it's the panel of Suo and Kaji training together

the matchup always intrigued me and im dying to know what the thought process was here (there's a fic that explores it here please im begging yall to check it out) esp going the route of both of them having smth that they want to hide (Kaji's berserker beast v Suo's merciless brutality) because they hate that particular version of themselves (though in Suo's case i dont think it's... hate but more like a general distain of it, not how one should properly act kind of thing) granted this is all hc'd territory so take it with a grain of salt

im certain that he envies / admires how Sakura and Nirei can be so open about who they are so authentically (and even push past their perceived limits) which im sure is what drew him to them to begin with (this goes into that beautifully) because whatever he went through has made it so he feels as though he cant be his authentic self

as for whether or not i think well get his arc after kiryuu... honestly i feel like his past might involve the Next Big Arc in a way? i know ive seen people speculate hes got connections with the yakuza and i could see that tbh

through my VERY CURSORY LOOK into leaving the yakuza, it doesnt... seem to be as a big a deal as i was expecting? if youve got a good relationship with the person you work under then its pretty easy for you to leave, though reintegrating with society is the hard part from there. i read that it is possible to just... kinda vanish too, though that wouldnt stop another member from tracking you down (and no fingers are being cut off)

if not a full blown yakuza, i could see Suo being part of a different gang and for one reason or another he left it so his former gang members track him down to either a. drag him back or b. punish him for leaving. not sure if his master would be part of said yakuza / generic gang or if his master is the one who got him out of there (which. hilarious if thats the case boy just went and joined another gang instead)

i dont know if his arc will start immediately after Kiryuu (i could see Nii-sensei throwing in a mini arc that leads into Suo's (like with Ito into Gravel)

whether or not it will though i love this silly lil guy! my craptastic gentleman son

Everytime I remember Suo’s “I really am no match for you”, I can’t stop vibrating on my seat from curiosity. Like, in what way, and why? What is it that you measure when you thought of that, Suo? No match in terms of what, maturity? Keeping your head calm as possible? In having mental resilience? And why do you think like that? Why is there an implication that you want to match/live up/be equal to Sakura? What exactly goes on in your head, Suo? Ugh he is so mysterious and contradictory

This is my own interpretation, but I think it’s a general mix of what you said, but within the context of Chapter 50 and a dash of genuine admiration (with an undertone of self-depreciation).

It’s important to note that Suo and Sakura actually reverse their roles in their relationship, compared to their actual personalities. Suo takes a lot of initiative when it comes to Sakura, assisting him to the best of his abilities and even focuses on messing with him specifically. Sakura [reluctantly] accepts his gestures + help, and is quick to believe Suo‘s (obvious) lies.

This contradicts the fact that Sakura is usually proactive and takes initiative, while Suo is passive and observant—something that has been established since the beginning of WBK.

But in chapter 50, their usual dynamic is completely flipped. The composed Suo Hayato is seething with anger and awfully emotional, and the brash Sakura Haruka is oddly calm and rational. Suo even points this out during their confrontation:

But what really causes Suo to snap out of it is Sakura blaming himself. Because unlike him, his class captain has his priorities straight but holds himself responsible in the process; while Suo himself was too busy taking his anger out on someone who was already beaten just because he was unable to protect someone who was weak.

This subversion makes him self-reflect, because Suo “my hobby is human observation” Hayato probably never predicted Sakura managing to stop and calm him down.

Thank you so much for the lovely message @kayharts! Sakura and Suo are one of my fave duos in WBK as well, and there’s a lot that can be said about these two! I’m happy that my posts were able to provide the insight you needed.

To answer your question, this is actually something I’ve actually been meaning to make a writeup about, so your ask prompted me to actually make a post for it lol. But without further ado:

Sakura’s perspective of Suo

To start off, I’d like to say that Sakura hasn’t exactly regarded Suo on an individual level. He considers him as a part of his community alongside his other peers.

Sakura doesn’t have any of his internal dialogue that directly acknowledges Suo (as he did for Endo) or ‘impactful’ memories of him (like with Umemiya and Nirei) that shapes his development outside of Suo’s advice.

The only exception is this scene in Chapter 145, in which Sakura’s view on Suo is quite… convoluted, to say the least.

The reason why Sakura thinks that Suo is “full of crap” is because of how he constantly lies to mess with Sakura specifically (though Sakura hasn’t picked up on this). And yet, Sakura still believes every word Suo says…

This even bleeds into how Sakura addresses to Suo’s direct praise with apprehensiveness (though he does blush more at the words; you aren’t slick Sakura).

Coupled with the incessant teasing and the way Suo had treated Kanuma in Shishitoren, it’s no wonder why Sakura generalizes him as someone who “teases everyone at every chance he gets”. This isn’t remotely true; though Suo does tend to poke fun at others, his main victim is Sakura himself.

But then again, that scene in particular is just Sakura over-generalizing his classmates (you can tell that Sakura and Kiryu were not that close back then because his opinion on him is the only one that’s remotely positive) in order to juxtapose the fact that he believes that his peers are genuinely good people in the next page. Because despite the misconstrued perceptions Sakura has on their “flaws”, he still wants to protect and live alongside the people he cares about.

Additionally, I would like to tack on a big yet to the first two statements of this post. Wind Breaker’s (and Sakura’s, to that extent) story is far from over, and there is much potential for how his and Suo’s relationship can develop further [between a protagonist and deurotagonist]. For now, I’ll focus on what has been established in canon.

Circling back to Shishitoren, we see that Sakura says Suo has a rotten personality. In fact, he is the only one who openly criticizes Suo’s treatment.

Despite this, he doesn’t seem to harbor much resentment towards Suo. In fact, one can argue that Sakura is more so curious, given the fact he had the initiative to ask Nirei more about him (when he hadn’t done so for the other Furin students). Sakura also wanted to fight Suo despite the latter not provoking him, and Sakura not actively applying Umemiya’s advice (of fights being a conversation) at that point of the story.

Sakura is also shown (and not told) to trust Suo wholeheartedly.

Before Noroshi, Sakura lets his vice captain come up with a strategy, relying on him to do something he has no expertise in. Despite Sakura’s embarrassment, he’s come a long way from being so afraid to ask for help from others before.

Sakura also reluctantly agrees to work with Sugishita despite their animosity, because it was Suo’s idea.

Suo also points out his Achille’s heel while fighting. Despite Sakura’s initial apprehensiveness, he chooses to believe in Suo in the end.

Following Suo’s advice works out in Sakura’s favor when he fought alongside Sugishita, and even his fights after Noroshi.

There’s also this scene in Roppo where Sakura imitates one of Kanji’s moves; he uses Suo’s shoulder to support himself (when he can jump to that kind of height by himself easily) and kick at Endo’s face.

As for what you said in regards of Sakura knowing whether Suo is hiding something deeper or not, nothing has been explicitly confirmed as now. Until we get something [meaningful] from Sakura that directly addressees Suo as a character, we won’t really know. In any case, Sakura would most likely respect Suo’s boundaries and not pry into his business (especially if Suo’s advice to Sakura stems from shared experiences).

I can definitely see where your speculation is coming from, though. It’s inevitable at this point; I’m 99% sure that Sakura’s request to fight Suo in Shishitoren (and Suo’s declaration to do his best) foreshadows a future fight between them. Given how closed off the two are as you said, it would be the only way they can understand each other.