Nice: Futility In The Pursuit Of Perfection

I need people to be aware that Dick was an absolute menace to criminals when he was Robin, ok? 

Sometimes I feel like us as the bat family fandom forget how starry eyed people get about Nightwing canonically.

Because with the exception of early era Tim most of the Batkids are like. lol that’s my loser older brother or some variation of yeah…he’s some guy I guess? He helps me with homework?

And Nightwing is the canonically a center of multiversal light.

When Heroes meet Nightwing they do the vigorous handshake and the “it’s an honor to meet you sir, I have heard so much about you oh my god”

There are so many character where they are literally shown giggling and kicking their feet whenever Nightwing talks to them.

Even the people who don’t have the celebrity level worship of him respect the hell out of him and call him as soon as they need help.

From raven to Starfire to Superman to Superboy to all or the flashes there is so much respect and awe given to this one dude.

And it is deserved

But imagine you are Damian Wayne and you’ve been working with what 90% of the people you’ve met (all bats) have been calling an embarrassment to your father’s legacy.

Your mother hates him and your Grandfather doesn’t feel that strongly about him.

The red hood calls him an embarrassment and a coward and he couldn’t even keep Red Robin from running away.

Your father tells him that he never should have been Batman

And you’ve worked with him and you know what you think everyone is full of shit about him and you and him the new Batman and Robin are the best no matter what anyone says.

And fuck it the fact he keeps going in a suit that everyone tells him he’s not good enough for is scratching something in your brain that you’re refusing to acknowledge because why would you feel that way? You are the circus freak have nothing in common (shut up)

And then you meet the justice league and all the extended teams.

And people are falling over themselves to listen to a word out of your brothers, your Batman’s mouth. They wait for a nod or headshake and dictate decades worth of planning on it.

Both Drake and Todd’s hero teams ask him for advice with or without their designated bats presence.

The man of steel asks for child rearing advice and wonder woman cracks a joke about a spar

Newer heroes whisper about him in the halls

He’s literally your favorite hero’s favorite hero

And it’s breaking Damian’s Brain

Because well… he kinda gets slapped around in Gotham. He’s the butt of half the jokes the other Batkids make and Dick just smiles and takes it.

The rogues have a bounty on nightwings ass and he gets leered at by goons, rogues, civilians and anti-hero’s alike and he doesn’t say anything.

He lets oracle crack jokes about a pretty face and having to do everything herself

Let’s Jason run the alley despite the fact that apparently he knows how to take it back

Apparently he’s had 12 people tailing Drake since Paris and despite being the man Ra’s Al Ghul calls detective has yet to notice. (Because you can’t tell me Dick was just magically at the right place to catch Tim falling to his death on coincidence)

And necessary to peace talks because he’s the best they have at deescalation

Like imagine you are a child who was raised to believe power is this obvious, all consuming thing. That the ones who control the board are visibly larger than life figures who fought their way to the top and cling to power by even the thinnest hangnail if they had to.

People who ignore simpler morals or an overall greater goal or good

And then you’re taken in by the man who whispers the correct answers into the larger than life figures ear.

Like I feel like that would have such an impact because Dick didn’t take power from anyone to reach his goals, it’s why his siblings don’t really defer to him unless in crisis.

Dick didn’t take power, no people just looked at him and decided he was the best option to give it to.

Everyone basically looked at this kid and went, yeah you’re the future of all heroism.

And if that dude can’t even get Bruce Wayne’s respect what chance does Damian Wayne have

today i am thinking about zoro and luffy both having two constantly depicted scars. one on their eye each and one on their chest each. so intrinsically intertwined they have matching mortal wounds.

and i know it’s silly, and coincidental, but i like to think it symbolises them understanding each other more and more as time passes.

zoro got his chest scar clambering and falling on the way to his dream, being defeated by mihawk so easily then swearing to never lose again. and luffy who got his chest scar clambering and falling in a different way. they understood ultimate defeat respectively, loss and something that hit, quite literally, over the heart. their chest scars are their most important reminders of strength, the need for it. and loss, the need to avoid it.

and then luffy, who’s eye scar is a self-inflicted wound as he tried to convince shanks he could be a pirate too- he was strong enough. and zoro who got his eye scar during the timeskip, in a way we still don’t completely know, in the height of his self loathing for not being strong enough. they both got the scars around their eyes for the future ahead of them, and in trying desperately to get there. luffy asking shanks to take him onboard, and zoro asking mihawk to train him. the scars around their eyes are ground zeroes, an ask, a plea, complete determination.

one piece started and zoro quickly learned to understand loss, knew loss, while luffy would learn loss so deeply in marineford. one piece started and luffy understood the need helpless desperation, growing up with shanks refusing him. and zoro learned that later, so horribly, after thriller bark turned into the sabaody incident turned into marineford where he couldn’t do anything.

zoro and luffy understand each other so completely, they’re soulmates. but there are still parts of themselves which are obscured, different, simply because they are two different people with two different histories. and those things that are missing come with age, experience or being together. they understand one another more each day, somehow that’s possible, and i think their scars are a good example of it. them learning things which they may not have understood before, connecting to parts of each other they may not have connected to before.

I agree with your points about how Suo and Sakura fool each other super well! I also love how differently they approach problems when a plan is needed. Like how Sakura tends to jump in headfirst, but when a plan is really needed he turns to Suo and trusts him to handle it. And Suo’s plans for protecting the bridge were legitimately brilliant, showing how correct Sakura was to trust him with it. (Seriously, Suo’s talent for strategy that goes beyond even their normal one on one fights and into planning out giant group fights is insanely impressive and I somehow never really see anyone mention that) But I just love that while being foils of each other they also support each other where they can and become much stronger for it

Going off on a tangent here, but Suo’s intelligence has to be one of my favorite parts of his character.

A little detail I like is how he references Japanese mediums of storytelling:

But the best example of Suo’s sheer intellect is during the Tsubaki chapters.

When Suo talks about the significance of Yui planting the dogwood tree, he first explains it’s Hanakotoba (Japanese flower language).

However, the “Am I indifferent to you” definition is not part of the dogwood tree’s flower language. In fact, Suo actually refers to this custom from the 19th century:

As Yui was the one who planted the tree (rather than Ito, the male), she (the woman) conveys that her feelings towards her husband are not of indifference despite his prior belief. Since this was a tradition from the Victorian Era (which predominantly took place in the United Kingdom and its colonies), Suo explains the meaning in English rather than Japanese.

And as you’ve mentioned here, Furin would’ve been cooked by Noroshi’s massive numbers if Suo didn’t come up with their main strategy. Additionally, Sakura would’ve never worked with Sugishita or realize that he can’t fight alongside other people properly if it wasn’t Suo who had guided him.

Because of Suo’s guidance, Sakura was able to take down enemies with Sugishita and fight well during the first half of Noroshi. In a way, Suo is the brains to Sakura’s brawn (and Nirei would be the heart).

Honestly, I’m exhausted by the discourse surrounding Aldo Bellini :)))

Why can’t we keep the canon intact and build on it, rather than bashing Aldo’s character to fit a different narrative? The depth of his relationship with Thomas, the weight of their history, the fact that they know each other too well—that’s what makes their story so rich. It doesn’t need to be rewritten, and Aldo doesn’t need to be cast aside to justify another interpretation...

What exactly has he done wrong? The way people project their own political views onto this fictional character—one who has the courage to say outright that he refuses to be anything other than what he is and what he believes in, in order to sway undecided voters, even at the cost of the papacy—is ridiculous. The fact that he’s a liberal figure shouldn’t make him more politically skewed than the literal fascist in the film.

Yes, he stops speaking when the nuns enter the auditorium—who wouldn’t? They’re organizing a campaign in his name, one he never asked for.

Yes, he doesn’t address the women directly in the film as Benítez or Lawrence do. That does not make him a hypocrite regarding his views. The film is from Lawrence’s POV—we don’t see everything that happens outside of that lens.

He stands up to Tedesco, even if it’s short-lived, not because he’s weak, but because he’s done it countless times before, and it has changed nothing. It’s habitual—he has defended the late pope’s legacy against Tedesco before. As he himself mentioned, the smears, the leaks to the press—he faced the Venetian Patriarch again and again, likely alone, as one of the highest-ranking officials in the Vatican, shielding a dying pope who could no longer shield himself.

And Tedesco knew that. Canonically, he knew. Because he has eyes and ears everywhere in the Vatican. That’s why the last months of the late pope’s papacy were so brutal. Why the attacks against his leadership and his vision were so savage.

But Aldo still speaks up. He does. Thomas doesn’t. No one else in that room does—except Aldo and Vincent. And yes, Vincent articulates it better. He is more forceful, more impassioned, more genuine. Because this is his first time in the Curia, and he is stunned by the hypocrisy, by the blatant power-hunger of it all.

Aldo isn’t stunned. He can’t be. He has lived in it for too long, fought too many battles that went nowhere. He knows the game better than anyone, and he knows that fighting with everything he has won’t change the fact that the system has been built to withstand men like him. So does he still push back? Yes. Does he still try? Yes. But he no longer expects it to make a difference. Because it probably never has.

The idea that he is somehow spineless, or merely a foil to Vincent Benítez, while the actual deplorable men in the film go unchallenged by the fandom, is frustrating.

It ignores the central theme of Conclave: these are flawed, human men, all of them, shaped by faith, experience, and immense pressure. None of them are “better” than the others—they are all navigating their faith, their responsibilities, their mistakes, their choices.

Yes, Aldo later chooses a moderate candidate, Tremblay, rather than pushing for himself—but that’s what they’ve been reduced to by that point. Maybe if Aldo had been in the lead from the beginning, he would have fought harder. But it's one thing to be expected to win and another to be faced with the reality that he does not have enough support. And crucially, he has no idea that Tremblay only made it into the race because he bribed their brothers. Aldo isn’t playing politics for personal gain—he is choosing the lesser evil to salvage what he fumbled, to protect 40 years of progress, the legacy of the late Holy Father—progress that he personally fought for.

And we never know if Aldo actually accepted Tremblay’s offer to continue as Secretary of State if Tremblay won. We don’t even know if the offer was made. But even if it was—even if Aldo had accepted—it would not make him a bad person. It would not make him corrupt. It would make him pragmatic. It would make him someone willing to do what he could to keep his work alive, to preserve some of the progress of the Church, even in the face of his own failures. Accepting his shortcomings and trying to fix what he would be allowed to fix is not weakness. It is not cowardice. It is a man doing his best with what he has left.

Yes, in the book, he casts an early vote for someone who stands no chance, and then for Lawrence, who in his eyes is just as unlikely.

But imagine what it must be like to be so brilliant, so well-versed in theology, and so skilled in Vatican realpolitik, only to realize that those very traits make you unworthy of the papacy—because the papacy should be the result of divine intervention, not a media campaign that crowned him as the next pontiff before the conclave even began.

He knows the late pope betrayed Thomas’s trust by confiding in Aldo about Thomas’s struggles with prayer. And so he chooses to betray their late friend in return—not out of malice, but to ease Thomas’s burden, to tell him that even the pope had doubts too. To make sure Thomas understands that maybe the Church is what’s wrong—not Thomas, not him, not his faith.

Even in their worst moments, Aldo and Thomas do not let go of each other. They still sit next to each other, even after arguments. They still walk side by side. They still seek each other’s gaze, even in disapproval.

The core of Aldo and Thomas’s relationship—and I am only speaking about what we explicitly see—is that they know each other too well. So well that it’s uncomfortable. Their bond is deep, intimate, and painful because it forces them to confront parts of themselves they might otherwise ignore.

Thomas is right to call Aldo a coward in the moment that he does, but that doesn’t make him one—it means he was trapped by circumstance, by months of mounting pressure, by the expectation that he would step into the late pope’s shoes despite feeling unworthy. And Thomas knows that, too. That’s why he doesn’t make a sweeping judgment about Aldo’s character—he doesn’t mark him as faulty, doesn’t condemn him as lesser. He simply states that Aldo lacks the courage to become pope. Because at that moment, it’s true. But it isn’t about Aldo as a person—it’s about Thomas realizing, too late, that he backed the wrong candidate. That Aldo had been telling him from the beginning. That Aldo never wanted it. That he knew Aldo never wanted it and he finally accepted the truth of it.

And Aldo is right about Thomas’s ambition before Thomas even admits it to himself—before he confesses that he already has a papal name chosen.

Aldo—despite his anger—protects Thomas. He tells him to save his precious doubts for his prayers, but only after checking the corridor to make sure no one is listening, to make sure no one can use this to destroy his friend. Even when they lash out, even when they misunderstand each other, they still protect each other. Because the reality is, they are both exhausted, both distressed, both making mistakes. And that’s okay.

But this is not one-sided. They are very much equals. Aldo downplays Thomas’s doubts, yes, but Thomas does the exact same thing to Aldo. When Aldo tells Thomas he doesn’t believe he is worthy of being pope, Thomas laughs. He treats it like a joke because to him, Aldo is worthy.

But their friendship will not fall apart because of it.

The most important thing? They recover. Their closeness is neither a flaw nor a weakness. It is terrifying to be fully known by someone, but it is also a profoundly beautiful thing. They don’t doubt each other—they give their votes to each other through it all. They doubt themselves because the other sees too much, unearths too much. Their story is about tension, about recognition, about the pain of seeing and being seen—but ultimately, it is also about growth.

Aldo Bellini actively recognizes his mistakes, apologizes, and takes tangible steps to make things right—all in a single day—to fix the hurt he caused his dearest friend.

Aldo is the one who takes the first step. He is the one who acknowledges his own failings, and in doing so, he gives Thomas the space to admit his own. They were both right about each other. Not just Thomas being right about Aldo—Thomas could have sat with that, could have enjoyed the sense of superiority in the moment. But he doesn’t. Instead, he levels them. Because Aldo was brave. Because Aldo chose to be honest. Because it was unfair to dismiss him as a coward, while Thomas himself holds the truth of his ambition back.

And Aldo? He is genuinely happy when Vincent Benítez is elected. He claps, he stands, he moves on. He doesn’t dwell on the fact that he was the heir presumptive, that his dear late friend beat him in chess one last time. That the late pope was, once again, eight moves ahead. Because he doesn’t mind. He never wanted the papacy out of ambition—only out of necessity. That’s why he positioned himself as a foil to Tedesco’s views, not as a person. So, of course, he is relieved that a man with morals and principles was chosen instead, a person, not a politician.

Read the book. Read the script. Watch the film again.

These men don’t have to sacrifice their friendship just because a “new, better, shinier” person sits in the Vatican now. Because guess what? Vincent Benítez isn’t perfect either. He has struggled with his faith. He has experienced traumas that shaped him. This is a man who has faced warlords, mafias, criminals both petty and powerful. He is no stranger to being stripped of his vestments and forced to exist as nothing but a man. Even he, in the book, the script, the film, does not always act rationally. He throws Aldo’s arrogance about returning to Rome and potentially having to stay right back at him—and honestly, he isn’t wrong, neither is Aldo. Vincent is stubborn. He is not innocent, despite the name he chose. He needs Thomas’s acknowledgment of his anatomy for a reason. He has doubts, too. And doubts are not a bad thing. Just as Aldo seeks Thomas’s approval before taking the chessboard, before opening up, before allowing himself to grieve.

Aldo and Vincent are not foils—they are the same in their love, just as Aldo and Thomas are united in their pain, just as Aldo and Tedesco are the two sides of the same coin in their intellect and ideological strength. They are men. What they do is what sets them apart—and what brings them together.

And if you’re going to tell me that a stupid BuzzFeed quiz calling Aldo Bellini “spineless” months ago is still driving this entire discourse? Then maybe it’s time to admit you never understood him nor the source material in the first place.

The AMOUNT of Dick Grayson character ERASURE…

…that occurs to prop up the Bruce Wayne that exists in everyone’s head is just…baffling to me.

Lemme point out that the #TiredDad chasing after everyone, and trying to force them in a get-along shirt so they can actually get shit DONE…who probably has done the most wellness check-ins and evaluations…who gives a stern talking-to when someone has gone off the rails…and gives chances to those who don’t always deserve it…the guy who has heart-to-hearts on rooftops and has the tough talks with people about things not everyone wants to hear…the guy who puts himself LAST and keeps the wrongs done to him to himself…basically the unsung Knight figure in his group and the difficult brooding parent who’s loyal enough and supportive enough to let people make their own choices that either fail or succeed on their own merit, but he’ll be there Regardless…

Dick is HANDS DOWN the Batman that lives Rent Free in everyone’s noodle.

Every time a fan has a headcannon about Bruce as a Dad…about 7/10 GUARANTEED that Dick either has in CANON-ly DONE IT as either Batman or Nightwing.

And that’s the TEA NO ONE on this HELLSITE can actually handle.

What's the role of suo character? He is considered as main character with nirei or as deuteragonist but I see he has no importance outside protecting nirei!. I don't understand the hype around his mysterious aura

I think probably what you're looking for is a more flashy fight/action centric series then! You'd probably enjoy all this time you're putting into sending anonymous asks about a show you don't see the appeal of more if you spent it instead on media you can enjoy! However, I will absolutely take this opportunity to gush about Suo you are giving me on a silver plate happily! So let's talk about why Suo is so fascinating narratively!

Labeling him as a deuteragonist is actually pretty spot on, to be honest. He is a character that sticks by the protagonist's side pretty consistently throughout the story. Suo as a character gives advice to Sakura about what will help him grow and achieve what he wants as class captain as well as provides an interesting combination of parallels as well as differences in perspectives compared to Sakura. Additionally, Sakura's presence draws forth the aspects of Suo's character that are likely to be developed within the story. Let's start with how Suo provides a difference in perspective for Sakura!

There is more strength in drive and ideals than in physical strength

Suo says it pretty clearly to Sakura before his match in the Shishitoren arc-

When he first met Sakura, it is very likely his first impression was 'ah, here's yet another brute who thinks he can beat others up and claim himself to be the strongest'. The same kind of person Sakura calls weak or lame himself. However, even Sakura's goal that he says to everyone in the beginning... kind of reflects this idea that physical strength gives you value. He judges Nirei because he can immediately tell Nirei isn't a fighter yet is a student at Furin, he thinks the only thing that is important is winning fights and making sure everyone knows they can't bend him under their will. Sakura thinks the only thing valuable about himself is his fighting ability/strength. But what is shown through his actions? That he protects those who can't defend themselves. That he is pissed off when someone enjoys causing others pain or suffering. Outside of the manga, when asked about what Suo's dream is, he says 'emancipation of slaves'. Right from the get-go he is challenging Sakura to start to think about what his purpose is when he fights. Because it's not really about just proving he's the strongest guy around. Why does this bleed so much into what Suo says to Sakura? Well, for Suo-

2. Empathy is the most important thing to possess

Suo is extremely good at understanding where other people are at emotionally/mentally. A LOT of his dialogue is trying to explain how a person might be feeling or encouraging others (rather forcefully at times haha) to try to demonstrate empathy themselves.

Suo is the calm to Sakura's storm. Except. Suo isn't actually the calm. Not in truth. This is part of why he is so intriguing as a character. It is also where Suo starts to actually parallel Sakura. Because Suo is-

Very Emotional

Incredibly so. The difference is, Sakura wears his heart on his sleeve. He doesn't hide how he feels or his inner thoughts at all because Sakura wants to be true to himself no matter what. It's hard for him, it is agonizing for him at times because of his bad prior experiences, but it is still something he tries to do at all times. Suo, however? Keeps those emotions hidden behind a "friendly" smile most of the time (to talk towards him being appealing- a lot of people like characters who put up fronts. I am included in this 'lot of people' lmaoo. I am such a sucker for a character who puts up a front to guard themselves or keep others at an arm's length).

But Suo gets angry. Incredibly so. He also judges others all the time. He's VERY opinionated, but he doesn't often state any of these opinions so directly. It's important to Suo that he upholds appearances and comes across as disciplined, calm, and collected. Sometimes though, he is anything but. Which is what we're shown in the Keel arc. Keel takes advantage of kind people who are just strong enough to be useful, but weak enough that they can be beaten into submission and manipulated. And that? Already pisses off Suo I'm sure. But then, on top of everything else, Suo is kept from running to the aid of someone he cares about. Someone who has such good drive, who also has a strong core but has some ways to go in being able to act on that drive. Suo is kept back from saving his friend and Nirei is beaten into unconsciousness. So what happens? Attempted murder. Suo's anger and frustration boils over. He hates these people. He hates seeing those he cares about and seeing those who can't defend themselves, broken. So he's going to put an end to it. To them. "Nice Guy" façade be damned. "The level headed one" be damned. And we get this look at Suo in a chapter literally titled "Extreme Emotions"

Which like, if you wanna talk about why his character garners a lot of hype, I think a large part of it is because of his aura when he's genuinely mad. It's the duality of it all.

I don't have as smooth of a transition for this one but what else does Suo do that Sakura absolutely does as well?

2. He keeps people at an arm's length; he doesn't like letting people in

This is also where Suo has a lot of duality, but here it makes him something of a hypocrite. He tells Sakura it's important to delegate and rely on others alongside Nirei. He pokes and prods Sakura to try to get him to open up to them. To not assume how others feel. But Suo doesn't show that himself. The ONLY thing Suo has honestly given about himself is that he has a mentor who taught him the 'hodge-podge' martial arts he uses as his fighting style. Everything else? Jokes, lies, dismissive words. Suo is hardly ever injured or dirtied in a fight because it isn't a conversation to him. He's the one doing the talking. He's the one teaching a lesson to the other person. The other person doesn't need to say anything to Suo. He's already pretty damn sure what kind of person they are. He doesn't eat with the others because he claims he is on a diet. It keeps him from participating in what is probably the BIGGEST symbolism/metaphor for personal connections in the story. Because Suo doesn't try to connect with others. He actively avoids it.

So uh, yeah! That's why I think people find Suo interesting and get hyped about when he's on screen/in chapter panels! I am sure there are other things that could be said, but I hope I could offer some insight!

Controversial opinion, but I don't think I like good dad Bruce Wayne.

Now, don't get me wrong, I'm not saying I don't like Bruce being a good dad, but it is hard for me to enjoy it when he's like that all the time. When he suddenly knows how to communicate, or what to do when there's an emotional issue, or that he's now smiling and reassuring his children so easily.

Is just too abrupt after what we've seen so far of him as a parent.

I can't buy this new version of Bruce without any deserved development or previous arc that triggered this drastic change in the way he acts, specially towards his kids. And I get it's usually like an alternative self, and he's always been like that in that kind of universes, but it just feels too easy.

Is like working so hard for something only to be given it without a chance of showing off all the work you've done to get there. Is not fulfilling or satisfying (to me).

And I get the hype, I do, but there's also so much history of the characters that wouldn't have happened had Bruce been truly that great and supportive dad that some portray. It erases too much for me to fully like it.

So, yeah, good dad Bruce I can only enjoy when he's had the proper growth as a character that doesn't erase everything he's done before and instead shows the long journey he had to go through as a person to get to that point.

Could u elaborate more on what u said about how dick is the linchpin of dc?

Sure! People refer to Dick Grayson as the linchpin of the DCU largely because of this quote:

“Just in terms of links to other characters, though. Dick has so many connections to other characters. In many ways, even more than Superman or Batman, Nightwing is the soul, the linchpin, of the DCU. He’s well respected by everyone, known to the JLA, the Titans, the Outsiders, Birds of Prey – everyone looks to him for advice, for friendship, for his skills. He’s the natural leader of the DCU. His loss would devastate everyone and create ripples through the DCU.” - Phil Jimenez 

For context, Jimenez is one of the people who worked on the Infinite Crisis comics. This quote is from one of the interviews where he (along with other DC creators like Geoff Johns, Eddie Berganaza, and Jeanine Schaefer) explain why it wasn’t a good idea to kill Nightwing off in those comics, despite Dan DiDio’s plans to the contrary. It’s interesting to hear everyone’s perspectives, you can see more of the interview here. 

But yeah, as Jimenez describes, Dick is connected to pretty much every single hero in the DCU. Have you ever heard of ‘Six Degrees of Kevin Bacon’? Because you could easily play that game with Dick lmao. Many of the JLA see him in a motherly/fatherly way, since they were at the very least there when he was Robin. At the most, these older heroes, Superman in particular, actively had a hand in raising Dick into the man he is today. 

In addition, he is very close friends with his generation of heroes because he formed the Titans. That alone gives him connections to so many people: Donna, Wally, Garth, Roy, Kory, Vic, Gar, Raven, Joey, etc. But it doesn’t even stop there! He often acts as a mentor to the next generation of heroes as well: specifically Tim, Kara, and Conner come to mind. And he helps out the Birds of Prey. And the Outsiders. And the Batfamily. The amount of characters he has influenced and interacted with is frankly a little ridiculous. 

The Brave and the Bold (2007) #15

Dick had such a great reputation, and so many people trusted him because a) he had worked with them before and had proven his mettle b) he had been a leader for a team they were on or c) he had mentored them. Like, not to say he was universally liked, but. Even when people hated him or disagreed with him, they usually respected his skills and expertise. And he kind of acted like the bridge/commonality between the old generation and the new:

Teen Titans (2003) #6

He used to be considered such a capable and valuable member of the superhero community…which is one of the reasons why it is so frustrating to see how he is treated in the newer comics/continuity. But really, I am only scratching the surface here on why Dick is considered to be so important. This post by @theflyingwonder goes even further into detail. They also explain what the fallout for Dick’s death should/would have been considering his connections, it’s worth a look. 

sometimes i sit and wish zoro had a ‘hat moment,’ like nami’s in arlong park, usually just as an extension of me wanting zoro content. but i’ve been thinking about it, zoro and luffy’s straw hat, and realised just how many times he has either caught it or been trusted to hold it.

zoro doesn’t need a shifting character moment that impacts his relationship with the crew because he doesn’t have anything in his backstory that hinders his openness with them. as far as we can tell, there is nothing subdued and hurting in his past that needs addressing. if any of the strawhats asked, i think he would easily tell them about kuina, his parents, the dojo, if they don’t know already.

zoro being trusted to hold luffy’s hat, to catch it over open waters when it’s dangerous for luffy to, etc, it speaks so hugely about zoro and luffy. zoro doesn’t need the anchoring support it has, instead he acts as a person luffy trusts to protect it.

in a lot of ways, luffy’s strawhat is an extension of himself, his strawhat is him. it’s what makes the moment in arlong park so special, it makes every moment it’s in danger so terrifying. he’s straw hat luffy. in fact, many enemies, friends and acquaintances refer to him as just that- straw hat.

luffy’s trust in zoro to hold his treasure, a piece of himself, is so special. it perfectly sums up their relationship, their trust and their willingness for vulnerability with each other. luffy allows zoro to protect him, and zoro would catch him every time.

zoro not having a ‘hat moment,’ instead having multiple where he holds it in tricky situations instead, it makes sense. luffy leans on zoro, he allows himself to be supported. though not shown, i am sure zoro would be equally comfortable for luffy to hold onto wado if he couldn’t.

luffy physically handing over a part of himself to zoro, a part that i am sure he values over a limb if need be, it’s so telling. he repeatedly trusts zoro with his life many times, yet somehow giving him his straw hat feels just as special.

zoro doesn’t need the comfort of the hat, he’s able to offer the opposite instead. luffy is comforted with the knowledge it’s in his hands.