#Dan DiDio | Explore Tumblr Posts and Blogs

divinecomedyproductions · 7 months

Text

I think I also want to explain my big bias about romance in epics: a heavily opinionated thread

Keep in mind, I’m not trying to throw shade at any indie creators who do this, just trying to explain my style and why

I really don’t like “Star-Crossed” Lovers and “Love interest to be built up and killed off” tropes. Not sure I ever did honesty.

I get why they work, they just don’t work for me. Unless like Peter Parker they get another chance again.

And three franchises were the final straw for me, and what drove me to go indie along with being inspired by indie works of others

First it was RWBY the tragic end of Arkos and what I feared to be sane of Black Sun among others along with the doomed fate of Oscar Pine

I tried to express my distaste of it on tumblr on my past accounts and RWBY wiki discussion forum(big mistake, I know) and I regretted it so much

Never had I met a fanbase so arrogant, self righteous, and sanctimonious about this kind of stuff, going on how amazing these tropes and dark stories like RWBY initially seemed circa V3-Finale along with Madoka Magica and Akame Ga Kill were and sneering at anything even one shade lighter than that

They were either passive-aggressively judging and gaslighting me, or outright lecturing me

How a epic story that has Dork knight and a lonely warrior woman isolated by society crushing on him, or a unlucky moody girl and sunshine himbo, a doomed hero having a well earned happy ending, especially if it involved resurrection as a good thing was nothing but “pandering”, petty, and worthless and the preference of the weak and cowardly

Even one fan said “people don’t find that interesting, sorry.” And that another fan seemed to stated characters like Pyrrha and Jaune are only fit for tragic endings because “that’s the kind of character she is” both of which these fans spoke as these things were gospel, or they themselves had some kind of storytelling authority

Then I heard about Superman and Lois Lane getting married and having a kid and even Bruce and Selena getting hitched, until hearing both marriages get trashed along with a few others

Along with the defense Dan Didio gave

It was absolutely MADDENING to me

"Heroes shouldn’t have happy personal lives. They are committed to being that person and committed to defending others at the sacrifice of their own personal interests.

That’s very important and something we reinforced. People in the Bat family their personal lives basically suck. Dick Grayson, Bruce Wayne, Tim Drake, Barbara Gordon and Kathy Kane. It’s wonderful that they try to establish personal lives, but it’s equally important that they set them aside. That is our mandate, that is our edict and that is our stand."

Like, these guys want to hopeful, but only in certain ways the pop-culture/literary ‘intellectuals’ deem acceptable as well as what they deem to be ‘interesting’ and what I had in mind did not only not qualify, it was seen as outright heresy

When I brought this up in my grievances with stories like RWBY, one holier-that-thou jerk supported it because

“Single Batman and Superman sells well”

After writing my preferences off as “pandering” and only for the likes such as Disney and Marvel,

The Self-Centered hypocrisy was staggering because what he said and his many followers were basically saying this;

“We don’t like it when your niche interest stuff is forced into our stuff, but when the case is in the reverse? We’re totally cool with that, and we hope it keeps happening.”

other fans said what I wanted was only for sitcoms, imposing themselves as gatekeepers of *epic storytelling itself*

From where I was standing, there is a growing hatred of couples in epics go through and making it and even getting married and having children, especially those of certain dynamics all under the guise of “hopepunk” and “The Greater Good.” Or whatever the term is now

Prattled on by conceited fandoms who in my opinion, have become a bunch of literary snobs who think way too highly of themselves

Who go around deciding what ways are legitimate “raised stakes” and “consequences”,

both which might I add are defined by their *own* standards,

along with their own preferences, especially fates for of certain kinds of ships and characters, which they flaunt as “objective” and above those of “the unwashed masses” in order to justify glorifying them as well as themselves for liking them

youtube

Which then afterwards these fandoms pressure these standards onto aspiring writers such as myself or be exiled to sitcoms, romcoms, Disney, or Marvel.

Because it’s not “entitlement” if it’s directed at the peasants I guess.

That along with the fact their so insecure and discontent with just being different, they need to feel superior than others for their own preferences

Nor they can’t handle the idea somewhere out there there is story that have characters like the those of the stories they enjoy, but with a different outcome

All epic fiction, its characters, its settings, its themes, its use of its inspirations, the creator’s style needs to begin and end on terms of these self-appointed arbiters who, once again, try to justify by presenting their preferences, tastes, and “personal emotional beats” as objective and superior

And once again: I’m *NOT* saying creators who goes with the tragic romance route are bad or malicious, most of them are just doing their thing

This problem lies with sycophantic individuals among fandoms who appoint their chosen champion’s ways as law and act offended on their behalf, even though they never spoken to these creators personally nor did these creators asked them to pick up a sword in their name and are not held accountable for their behavior

And what’s worse, is that these groups imply epic stories where heroic couples get married and have families are allegedly incompatible outside of Disney or Marvel or else it ends up as terrible story

Which they will imply is the case for stories like DragonBall Z, Sword Art Online, and Naruto/Boruto

But when *their* way of doing things ruins a franchise like DC comics and people complain about it?

It’s the whining of unwashed masses or vocal toxic minority opposed to the enlightened few or informed majority

Because *their* way makes everything better and always will

It’s incredibly self absorbed and narcissistic

So that’s why I’ve been so keen on having my heroes find love, get married and having families. Especially ones who’ve been through so much sorrow.

I’m just weary of this and tired of fandoms telling me when I’m disappointed;

“It’s not for you” and implying “nothing should be for you and everything should be for us”

And I’m certain I’m not the only one who feels this way

You don’t have to share my personal tastes and distaste’s in story beats in epics, once again, I just want you guys to understand.

31 notes · View notes

fantastic-nonsense · 1 year

Note

You mentioned about your cass cain reddit post (read it all and loved it btw) that you knew even more behind the scenes dc drama than what made it into the post. If you’re comfortable with it and still remember, would you like to share some of the behind the scenes dc drama that didn’t make it into that post now? (Ofc just ignore/delete this ask if you’re not comfortable with it I was just curious XD)

Necessary context: this ask is referring to this write-up I did for r/HobbyDrama a little over a year ago, which I offhandedly mentioned to a couple of people awhile back was "9 pages in a Word doc and STILL left a bunch of stuff out."

Okay so most of the stuff I left out, I left out because it was more about Barbara or Steph and the larger situation around how DC handled the Batgirl mantle more generally than it was about Cass and the whole debacle that happened there. Since the post was already getting so long, I chose to just not talk about a lot of that for length purposes and to keep the write-up more focused on a) Cass as a character, b) editorial or creative decisions that actually impacted Cass specifically, and c) top-level issues, since the write-up was geared towards an audience who largely doesn't read comics. I also left a few things out because they're somewhat hearsay and/or "known to be true but technically unverifiable information," mostly for credibility reasons.

Largely, the thing you have to understand about DC's treatment of Cass is that there was a major power struggle at DC between those who wanted Barbara Gordon to become Batgirl again and those who wanted Cassandra Cain to remain Batgirl. The "Babs vs. Cass" fight and viewing Cass's treatment within the context of this massive internal push for Batgirl!Babs is the backdrop through which the majority of this industry drama needs to be understood, because otherwise a lot of the stuff that happened to Cass doesn't make much logical sense.

So, with that being said...here's a list of eight things I either cut entirely or barely mentioned that may not necessarily be directly related to Cass but are nonetheless relevant to the larger debacle of "DC's mishandling of the Batgirl mantle" that impacted Cass's character trajectory. General warning for the immense psychic damage you will inevitably experience if you read this and its length, because between the screenshots and quotes and explanations this ended up being much longer than I expected it to be.

Yvonne Craig: The first major thing that I chose to cut was a paragraph about Yvonne Craig, the actress who played Barbara Gordon in Batman '66, and the near hero-worship that a lot of (specifically middle-aged, white male) creatives, editors, and managers at DC had for her. Basically, the broad strokes of this issue is that due to their weird obsession with Yvonne Craig's Babs–which is probably due to them having childhood crushes they never got over–several men with power within DC (including Dan Didio himself) shared a sentiment that Barbara was the "one true Batgirl" and no one else but her should ever be Batgirl. Basically: if Barbara Gordon couldn't be Batgirl, Batgirl as a mantle wasn't worth using at all. This led a concentrated decade-long effort to put Babs back in the Batgirl cowl, which obviously influenced the various attempts to push Cass out of the role.

I chose to cut it for two reasons: it was more related to Babs and why there was such a coordinated effort to make Babs Batgirl again rather than Cass as a character unto herself, and it's largely "very well-respected and often-repeated hearsay, but still hearsay." The prevalence it had within the rank-and-file creatives at DC is suspect, but we know that several prominent creators, editors, and upper management shared that perspective (even if they largely don't talk about it on-record). We know this sentiment absolutely existed; Scott Peterson, for example, talked a bit about how "crazy he was for Yvonne Craig" in his interview about creating Cass. It's just not a particularly well-sourced discussion point and was more suited for a write-up on Babs than it was a write-up on Cass.

Batwoman's Costume Design: I barely mentioned Kate in the write-up and only in relation to how Cass's book was cancelled to make way for the theoretical Batwoman solo book that never happened, but there's actually a lot of really interesting industry drama behind Kate's creation. Specifically as it regards Batgirl...Kate's costume was originally meant for Barbara, per Alex Ross:

"The design I did was initially for the proposed idea of a new version of Batgirl, so it was intended to be another stab at bringing back Barbara Gordon, or having the new Batgirl be costumed as a tribute to her, maybe even with a red-haired wig." -Alex Ross, "Giving Batwoman Her Look"

Ross and Paul Dini had been planning to revive Babs as Batgirl for years, but Bat Office Head Editor Denny O'Neil was staunchly against it so it never happened:

"Paul Dini had this idea of putting Barbara Gordon in the Lazarus Pit to revive her…spine, I guess," Ross said. "At least, that's what he would've done in the television show had they continued doing more cartoons, and her spine was broken the way it was. I thought it was a great idea, and we pitched then-Batman editor Denny O'Neil with these drawings of that costume design.........and that went nowhere. Denny shot it down, because, according to him, everybody loves Barbara Gordon as Oracle and as a handicapped character. The theory was that DC didn't have enough handicapped characters, so they weren't going to do anything with Barbara as she was. And the design went into the drawer." -from "Giving Batwoman her Look"

When O'Neil retired in 2002, the floodgates opened and we started seeing a concentrated creative/editorial push to make Babs Batgirl again. Of course by that time Cass was already well-established, so Ross's design was later re-purposed for Kate Kane's Batwoman and the power struggle largely manifested in a gradual sidelining of Cass from major Bat events (starting with Hush, as I mentioned in the write-up) in an effort to pave the way for putting Babs back in the cowl. Which brings me to the next piece of industry drama I cut.

War Games: There's...a lot of industry drama behind both the conception and execution of War Games. Most of it isn't particularly relevant to this answer or the original write-up, but there are two things that are. One, the fact that Stephanie's death was mandated by editorial and everyone involved knew it was coming. This is what prompted Steph's temporary takeover of the Robin mantle. Depending on who you believe, either Robin writer Bill Willingham, Batgirl writer Dylan Horrocks, Detective Comics writer/Bat Office editor Andersen Gabrych, or Dan Didio himself suggested that Stephanie become Robin as a story trick for readers and a sort of narrative "consolation prize" in preparation for the fact that they were about to kill her:

“The whole way through it was planned purely as a trick to play on the readers, that we would fool them into thinking that the big event was that Stephanie Brown would become Robin but we knew all along it was a temporary thing, and she was then going to die at the end of this crossover story.” -Dylan Horrocks at Auckland Writers and Readers Fest in 2011

"I knew coming into the Robin series that Spoiler was doomed to die. And I wouldn’t have done that, but that was already locked in even before I came on Robin, so I had no point at which to say you shouldn’t do this. But, I did I have this hair-brained idea that, well, if she was going to die — she was such a frustrated character…I mean, everything she wanted out of life she pretty much didn’t get. So, can we give her one little reward before she dies and let her become Robin for awhile." -Bill Willingham for Word Balloon in 2012

"You know, me and Stephanie, we go way back. The story with Stephanie Brown goes, they came to me as Executive Editor with the "War Games" story, and said 'we're going to kill Stephanie Brown.' I knew Stephanie Brown for who she was, and said, 'I don't know, if this is going to be the big ending to your story it doesn't feel big enough at the time, because the character wasn't strong enough yet.' So I said, 'Why don't we make her Robin for a short period of time, build some interest in her, and then we kill her!'" -Dan Didio for Newsarama

Steph becoming the major collateral damage of the immediate post-O'Neil editorial era would later set the stage for why she was viewed as an acceptable compromise choice to become Batgirl during the Reborn era.

Two, the writer of Cass's solo at the time, Dylan Horrocks, was so discomforted and offended by the concept of the story (and particularly its treatment of Steph) that he deliberately kept Cass out of the event's "main action" as much as possible during her tie-in issues. This has been widely reported for years and while Horrocks himself rarely goes on record about it, he has made some comments that more-or-less confirm it:

Horrocks: "I'd write [Batgirl] very differently today....for me, it was...complicated. One day I'll write about the experience properly. The War Games event was deeply depressing." -Dylan Horrocks on Twitter in 2012/2013

Sidenote: War Games was actually the last straw for both Ed Brubaker and Horrocks; Brubaker was fed up with all the editorial mandates/executive meddling and Horrocks was frustrated by the Bat Office's misogynistic and grimdark story direction, so they both left right after (Brubaker for Marvel to write Bucky Barnes' resurrection and Horrocks for indie comics).

So why are Horrocks' writing choices relevant to DC's subsequent treatment of Cass? Well, as I stated in the original write-up, it heralded the beginning of a "there can be only one" era for female Bat characters. DC could handle the idea of several male Batfam members running around at the same time but apparently more than one female Bat at a time (regardless of moniker) was just too much for them. It was also the last major Bat event to feature Cass in any significant capacity until her post-reboot reintroduction. So while she was largely removed from the action for good reasons, War Games stands as a haunting precursor to the direction DC was headed with her character: sidelined and replaced in favor of characters editors were planning on using (Kate), could agree on using (Steph), or liked more (Babs).

Batgirl (2008)'s Sales Performance: I cut this bullet point largely because it's ultimately a footnote in the larger saga that was Cass's limbo years. Basically, after the resolution of the Evil Cass arc DC reassured fans that they "had plans" for Cass as Batgirl. This later manifested via her appearances in the Batman and the Outsiders (2007) run and (eventually) a new solo mini. Unfortunately, Batgirl: Redemption Run didn't perform nearly as well as DC hoped for a variety of reasons: many Cass fans swore it off due to it being written by Adam Beechen (the writer who wrote her heel-face turn in the first place), the first issue was poorly written, the story wasn't particularly engaging, etc. The tepid reception and subsequent poor sales of this mini were then used to retroactively justify booting Cass out of the Batgirl mantle entirely during the aftermath of Bruce's death in Final Crisis and the Battle for the Cowl event.

However, DC was already planning on taking Batgirl from Cass and giving it back to Babs at the time, and it likely would have happened even if the mini had done well. The way we know? This image foretelling the events of the Reborn era and Blackest Night was teased in the final issue of Dick's Nightwing solo, as was this one from the end of Babs' Birds of Prey run. That's not Cass kissing Dick, folks; that's Barbara Gordon, Batgirl once again. This planned choice was, as I stated on Reddit, later confirmed by Dan Didio in an Editor's Column during Steph's Batgirl run, who said that at one point Babs was "as close to being Batgirl again as Dick was to being dead in Infinite Crisis" (which is to say, very nearly a done deal). I suspect that only a last-minute internal writer revolt–particularly from Gail Simone, who we know was a vocal supporter of keeping Babs Oracle–stopped it from happening.

Cass's Absence in Battle for the Cowl: I mentioned this in the original write-up but largely glossed over the particulars. In-universe, Cass had just been adopted by Bruce, was fully Batgirl again, and was largely reconciled to the rest of the Batfamily after the Evil Cass arc. And yet her only appearances during the Battle for the Cowl event (and the aftermath of Final Crisis more generally) were cameos in the main book and a main role in the BftC: The Network tie-in oneshot. Literally the only thing she did for the entire duration of BftC was create the Network, which helped the Bats deal with Gotham rogues, and take out a few criminals alongside Huntress. So you have DC continually downplaying and sidelining Cass in a story where she reasonably should have had a major, co-starring role. This event also marked her final appearance as Batgirl, which leads into the next issue I cut.

Batgirl (2009)'s Marketing: this one's very complicated and doing it justice would involve tracking down a lot of old ads and interviews revolving around how DC solicited and marketed this book in the lead-up to the reveal that Stephanie Brown was the new Batgirl, which I simply didn't have time to do at the time of the original write-up and ultimately would have just sidetracked the whole thing, but in short: readers didn't actually know who the protagonist of the new Batgirl solo was going to be when the title was announced. DC had cancelled Birds of Prey and announced both a new Batgirl book and a miniseries called "Oracle: Search for the Cure" (which later became Oracle: The Cure). So Babs' return to the cowl was being solidly teased, but Cass was still Batgirl and showed no real signs of wanting to give up the mantle.

DC's marketing and editorial teams played up this ambiguity by baiting both Babs and Cass fans in order to drive sales: this included teasing ads, early issue solicts that deliberately obscured who was wearing the cape, and a refusal to confirm who the Batgirl of the upcoming solo title would be during interviews and con panels. They chose to heighten the ambiguity even within the title itself: early covers of the run often obscure Steph's hair, eyes, and sometimes even her whole face; the first two issue covers even feature Steph in both Cass's and Babs' Batgirl suits to heighten the confusion. So was the Batgirl of the new title going to be a newly "cured" Barbara Gordon, a second shot for Cassandra Cain, or someone new entirely?

Obviously, none of these things happened. As we all know, Stephanie became Batgirl. The choice to make Steph Batgirl was a compromise decision, as Didio mentions in his editor's note (linked above):

"After long discussions it was agreed that Oracle had become such a strong character there was no sense going back. And since we wanted to make a change, Cassandra no longer seemed right for the role (Not to worry Cassandra fans; plans are afoot, in a very big way, for our favorite non-lethal assassin in 2010). As for Wendy, Bette, and Misfit, none felt strong enough for the position. That left us with the one choice we all agreed on, Stephanie Brown......from the time of her death to the outcry for a memorial and ultimately to her return, there is no denying that her character had connected with a portion of our fanbase and, more important, connected to the Batfamily. It just seemed to make sense that she was the one, and given her history and ties to all the members of Batman's world, the potential is there to make this new Batgirl the one fans will be speaking about for a very long time."

So as previously stated, Steph's treatment during the War Games era ultimately set the stage for her to be the compromise choice for the new Batgirl; she became this interim buffer character because everyone at DC was fighting over Babs vs. Cass and she was the only one everyone could agree deserved the title, and she thrived in that role over the next two years. And a new Birds of Prey book was then announced in the aftermath of Oracle: The Cure and Blackest Night, so Babs' prominence as Oracle survived for another two years until the New 52.

But Cass? Well...Cass unceremoniously handed the Batgirl mantle off to Steph, seemingly fucked off for no discernable reason, and showed up in a grand total of six issues across the entire Batbook slate over the next two years while being largely written out of the Batfam's history and having her reasoning for leaving Gotham retconned from being a choice into being an order from Bruce. Which segues us directly into the next piece of drama that I somewhat glossed over in the original write-up.

The Reborn-era Editorial Erasure Edicts: Bryan Q. Miller, the writer on Steph's Batgirl solo, was under strict editorial edict to basically not mention Cass or include her in the run if he didn't absolutely have to. For example, when he asked editorial if there was a reason why Cass left Gotham, they basically told him "she leaves. why? Because she just does, so your book can exist. Come up with a reason to make her leave and then don't use her."

This era is still pretty opaque in terms of what we know about what various writers were and weren't able to do with Cass, but we do know that Miller specifically was disallowed from featuring her in-person in Batgirl and highly discouraged from mentioning her in general. However, he noted on multiple occasions that he liked Cass and would be happy to use her:

Babs and Steph are the core of this title, no doubt about it. While we'll have another passing reference/flashback to Cassandra soon, I'm leaving the rest of Cassandra's story to whichever lucky duck gets to write her elsewhere in 2010. As for Batwoman, I'm leaving Kate in Rucka's capable hands for the time being. -Miller in an interview with CBR in 2009

If at some point the story I’m telling feels like it can only be told with Cassandra as a part of it, then believe me, I’ll try to find a way to work her in. As it stands currently, however, Cassandra’s fate and future are not in my hands. -Miller in an inerview for Broken Frontier in 2010

Had the book continued past Issue #24, we know that Cass would have had a recurring role as Black Bat in the present day as well as being featured in a Batgirls time-travel story, teased through one of Steph's Black Mercy hallucinations in that final issue. Other than that, we still have no real idea to what extent Cass's presence would have been allowed in the Batgirl book had the New 52 not happened.

Now, I will note that some of the omissions of Cass during Steph's run were seemingly his choice. He's mentioned that he left Cass off of Steph's infamous "Batfamily whiteboard history lesson" cold open from Batgirl #15 on purpose, for example:

The reason she didn’t make the white-board history lesson for Wendy was simply that I didn’t feel it appropriate to poke fun at her. Steph has a smirky little good natured time editorializing the Bat family tree. To suddenly have a serious/tribute panel in the mix would have gotten in the way of the tone of the opening. Now, that’s from the writing standpoint. From a character standpoint, Steph drew for Wendy what she deemed to be the pertinent players on the Gotham board and their connections/histories, given her role as Proxy. You’ll note, she also didn’t mention her own role as Spoiler (though she just couldn’t RESIST drawing that adorable little Spoiler with the broken hearts over in the Tim/Robin section). -Bryan Q. Miller responding to a fan letter from Caitlin in 2010

It's certainly possible that the editorial edict surrounding Cass's presence in the book also impacted his decision to leave her out of the history lesson. We simply don't know. However, the above response is the only statement he's ever given on that issue and we've yet to hear anything to the contrary.

Outside of Batgirl, DC also went to considerable effort during this era to erase Cass's importance both as Batgirl and to the Batfamily more generally. From being basically excluded from every Bat book except Tim's globetrotting Red Robin book to descriptions like these:

Black Bat: one of several former (and temporary) Batgirls, the wonderful Cassandra Cain has adopted a new Batman Inc. identity as the Black Bat, operating out of Hong Kong. -Batman. Inc (HC Edition)

It was not a fun time to be a Cass fan.

Elsewhere, we know that Gail Simone was actively campaigning editorial to let her use Cass in a significant capacity in her relaunched Birds of Prey book. There was also a substantial rumor at the time that Cass would be taking the White Canary mantle from the villain Simone introduced in her opening arc (see this twitter thread for more on that). For varying reasons related to both DC's general treatment of Cass at the time and a hesitance to give Cass to Gail specifically (which I'll elaborate more on in a moment), neither of these things ever happened.

We also know that Scott Snyder loved Cass and tried to get DC to let him write a Cass story on multiple occasions–a struggle which continued throughout the early reboot years and eventually resulted in the creation of Harper Row, as I mentioned in the original write-up. He eventually managed to convince editorial to let him write Gates of Gotham, which co-starred Cass in a significant role for the first time since 2008 and ended on a good note...and also wound up being her final appearance in comics for nearly five years.

Other than Snyder and Fabian Nicieza (who wrote the majority of Cass's few Reborn-era appearances in Red Robin), critical darling and editorial favorite Grant Morrison was the only other writer who was allowed to handle Cass. They're the one who gave Cass the "Black Bat" codename in Batman Inc. #6 and supposedly wanted to do a Cass and Steph team-up later on in that book. Unfortunately, because of the impending New 52 reboot they were ultimately only allowed to use Steph in "Leviathan Strikes" (and even her ability to be Batgirl in that final appearance was up in the air for awhile, causing the book's artist make Spoiler!Steph sketches for the story just in case editorial nixed her appearance as Batgirl).

So going back to Gail Simone for a moment, why wasn't she allowed to write Cass in Birds of Prey? After all, she was one of the few female writers in the comic industry, and a successful, well-renowned one at that. She was writing a women-led book helmed by Barbara Gordon that had featured and guest-starred a wide variety of DC's female heroes over the years and was actively asking to use the character. Well, even besides the various editorial mandates sidelining Cass and keeping writers from using her, there was another problem.

Gail Simone's Proposed "Christian Conversion Arc": The year is 2006, we are still pre-Evil Cass arc, and Gail Simone has been asked by DC management to pitch what she would do with Dick and Cass if assigned either Nightwing or Batgirl to write. She never actually turned in a Nightwing pitch, though apparently she had pretty strong ideas, but she did turn in her Cass pitch. And what did Gail Simone come up with?

Cass saves a Christian minister from a robbery, discovers Christianity, and becomes a hardcore convert who quotes the Bible and talks scripture with gang members while wearing a white outfit and being called "Angel of the Bat" as she protects Gotham's homeless and marginalized residents. No, really. That was her pitch.

I can't even begin to explain how bonkers this idea is and how many problematic elements are baked into it both conceptually and in the inevitable execution had the pitch actually been greenlit. I could talk about how Gail presents a fundamental misunderstanding of Cassandra as a character throughout her description of the pitch. I could talk about how unsuited this kind of arc is for Cass more generally given her stories up to that point. I could talk about the racist history of Christian missionaries in Asia and the awful implications of Cass apparently needing to find God to look after Gotham's most vulnerable residents and be "genuinely happy for the first time." I could talk about how the Batfamily already had two sincerely devout Christian characters in Jean-Paul Valley and Helena Bertinelli and forcing that narrative onto Cass was doing nothing new or novel. I could talk about the problems with Gail, an atheist, deciding that this was an arc she felt qualified to write for any character (much less one like Cass).

Instead, I'll simply say that this failed pitch and Simone's consistently poor, exoticized handling of other Asian characters like Cheshire and Lady Shiva likely contributed to editorial's hesitance to hand her permission to write Cass during the Reborn era, and that I ultimately cut it from the Reddit write-up because I felt like including it would derail the post from talking about what happened to talking about "could have beens" (since this would have theoretically happened in place of the Evil Cass arc). It leaves Cassandra Cain as a truly good, kind person attempting to do good and save everyone she can rather than the racist caricature of a villain that we ultimately got; that's about the only good thing I can say about it.

......I'm sorry, everyone. I was going to do one final entry and talk about the Rebirth-era storytelling decisions and editorial edicts but I got to the end of this one and found I just couldn't do it anymore. I'm the embodiment of the Ben Affleck and Hayao Miyazaki smoking memes right now. I'm so tired, y'all. I'm so tired.

There's infinite amounts of racist, sexist, and ableist industry drama bullshit that I could cover related to DC's handling of the Batgirls and Cass more specifically and no write-up or additional posts will ever be able to sufficiently cover any of it with the depth, attention, and outrage it deserves. There's always more to talk about. There's always one more piece of awful bullshit to drag out of the shadows. There's always one more cut in the thousand fans have already talked about over the past twenty years. I could write a full-length book featuring several currently non-existent tell-all interviews with various creators and likely still not reach the bottom of the barrel. And the things that will likely never be public knowledge far outnumber the things we actually do know about DC's shitty treatment of Cass (and by extension Babs, Steph, and every other woman associated with the Batfamily).

And while things are better for Cass now than they were then, we're still far from any of the girls being treated well. Unfortunately, we still have a long way to go. One day, I hope this won't be the case.

#cassandra cain #barbara gordon #stephanie brown #batman #batfam #cassandra cain meta #barbara gordon meta #stephanie brown meta #dc comics #dc fanwank #long post #VERY long post #dc drama #dan didio #asks

346 notes · View notes