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docgold13 · 3 years

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365 DC Comics Paper Cut-Out SuperHeroes - One Hero, Every Day, All Year…

Suplemental - Villains Who Are Sometimes Heroes

Often times, the best villains are those who do not necessarily seem themselves as such. They are the heroes of their own stories and believe their villainous actions are in the service of some form of a greater good. As such, there are numerous instances in which a villain will come to act in the role of hero or antihero, where the bad guy is actually the good guy, or a former nemesis becomes a sudden ally. Following the jump are some of my favorite villains who frequently end up playing a heroic role…

There can be no doubt that both Deathstroke and Bane are bad to the bone. Yet each have acting in the role of antihero more times than can easily counted.

Poison Ivy is less villainess than ecological warrior. Her actions may be evil in the minds of many, but for her she is merely defending the wellbeing of plant life and attempting to stave off mankind’s thoughtless efforts to make the planet inhospitable to both flora and fauna alike.

The Flash’s Rogues, especially Captain Cold, HeatWave, The Pied Piper and The Trickster are most certainly cads… yet they all abide by their own particular code of honor and conduct. As such, they have been many a time where these rogues have fought along side heroes as opposed to against them.

The Shade has been one of the Justice Society’s most formidable of adversaries. And yet it was later revealed that he isn’t that bad a guy and it was the malignant possession of the devious Culp who was responsible for most of his villainous deeds.

Both The Star Sapphire and Goldface each began as villains but ended up heroes.

Knockout and Scandal are wonderful and I’ll hear no bad words about them.

Brainwave Junior‘s turn as a villain was initially attributed to his difficulties with mental illness, but it was later revealed to be the machinations of the evil Mr. Mind. Once the little creep was expelled, Brainwave Jr. became good again. whew!

The second Tattooed Man started off a villain but later became a hero, only to be killed in Heroes in Crisis (hopefully he’ll get better like most of the victims of Sanctuary). As for Harlequin, she only acted as a villain to get the attention of her crush, Green Lantern (Alan Scott)… boy was she barking up the wrong tree.

Bizarro is not necessarily bad, rather he’s naive and easily manipulated and the majority of his evil acts have been the result of coercion by way of more purely evil villains. And under the right direction, Bizarro can very much be a force for good, such as the time he served as a hero among The Red Hood’s band of Outlaws.

Anarky is a political extremist and Thorne suffers from some sort of psychological malady. Sometimes their on the right side of a conflict, sometimes on the wrong. Are they bad guys… whose to say?

This guy… where do I even start? Lex Luther certainly does not see himself as a villain; he’s out to save the world. And there have been many a time where he has achieved exactly that. He could have been hero on par with the greatest in the DC Universe… if only he hadn’t stolen all of those pies!

Plastique began as a terrorist and villain yet spent a brief time as a hero, a result of her romance with Captain Atom. Alas the affair between the two proved to be short live, and so time did Plastique’s time as a hero. As he Deadshot, he’s a stone-cold killer, yet his time with The Suicide Squad and Secret Six has hoisted him into the role of antihero… a role that proved a surprisingly good fit for the deadly marksman.

Cheshire is a deadly assassin who has proven formidable nemesis of The Teen Titans. When he daughter’s wellbeing is on the line, however, the killer is quick to aide her one time rivals.

Painkiller started off as a villain yet has recently turned to the role of antihero; mostly a result of the character’s involvement in the Black Lightning television series. As for Manchester Black, I’m never going to be convince to trust this creepy peet… yet Superman has decided to do just that, recruiting the cad into his new team The Elite.

Both Fataly and Bleez have very good reasons to be as angry and vengeful as they are. And though both have battled the Green Lanterns on multiple occasions, they have also assisted the corps in joining forces against common enemies.

Thomas Blake made for a rather lousy super villain during his early years as Catman. After a much-needed Gail Simone make-over, however, he became a truly terrific antihero. Plus, anyone who likes cats as much as he does can’t be all that bad, right?

Although technically villains, I wouldn’t classify Jenette nor Black Alice as necessarily bad… They both just have a different way of looking at the matter of morality.

Don’t mess with Lady Shiva… let’s just leave it at that.

Polymath’s tenure as a villain was merely a result of her desperation to save her father. Once the Wonder Twins helped her do just that, she resigned from her villainous ways. Shado‘s deal is a bit more complicated. The devious archer has proven a formidable adversary to Green Arrow, but there has also been many a time where the two have fought side by side.

So Dex-Starr is a rage-filled murder machine possessing awesome power. Yet that is pretty much the case for all house cats, so I don’t see what the big deal is…

Both Killer Frost and Magenta fell into the antiquated trope of powerful women becoming evil due to some sort of hysteria. Sure they’ve been bad guys plenty of times, but they have each also acted as heroes as well.

Just like his father, Icicle Junior has taken the road of villainy, becoming a member of The injustice Society of America. When The ultra Humanite took over the world, however, Icicle joined forces with The Justice Society and played a pivotal role in saving the day. As for Junior’s baby-mama, Tigress, she remains a villainess… in the DC Animated Universe of Young Justice, however, Artemis is very much a hero. Feels like only a matter of time before the comic book universe follows suit, turing The tigress from villain to hero.

Both Clayface and Man-Bat are less villains than they are victims of circumstance. And while each have battled Batman more times than can be counted, there has also been times where the pair have aided The Dark Knight.

Once heralded as the greatest of The Green Lanterns, Sinestro’s path to villainy came as a facet of his quest to bring order to the galaxy. His tyrannical notions aside, there has still been plenty a time where he has once more joined forces with his former allies among the corps.

Both The Rubber Band Man and Major Disaster began as villains, but switched over to being heroes. Major Disaster even served for a brief while as a member of The Justice League International.

Lobo is a genocidal trashbox who has most likely had inappropriate relations with space dolphins. Yet people seem to like reading about this jerk which has foisted him into the role of antihero. I still think he’s garbage, but will admit that his daughter is super cool.

These three don’t even require particular mention. Catwoman, Black Adam and Harley Quinn’s roles as hero/antihero have been enough that they receive placement on both the 365 Villains list as well a the 365 Heroes list. Quite the accomplishment!

A rarity on this list… Terra started out a hero but it was later revealed that she was a double agent, a villain sent by Deathstroke to infiltrate and betray the Teen Titans. She perished but later returned again, either cloned or resurrected or something like that. In any case, she’s a hero again so yay…

So there you have it, a collection of scum and villainy who have, on occasion, acted in the role of hero. Have I missed anyone important? Let me know.

#365 DC Comics Heroes #cut-outs #paper art #DC Comics

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curlybookwriter0294 · 3 years

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A Little Fun at the Movies

Summary: All Jason Todd wanted was to watch his favorite movie Titanic at a Gotham City movie theater at a random midnight showing. That’s all he truly wanted. He wanted to take a break from being Red Hood for once. Hell, he even brought his boyfriend Roy Harper with him so that the red head could enjoy it with him too! Clearly, his horny boyfriend had other plans.

AN: This is my first JayRoy and I wrote this based on brainstroming with several people in a JayRoy discord that I am a part of and I am freaking outttttt cuz I am new to this pairing and I do not want to mess up their personalities lol. Please let me know what you guys think!

Disclaimer: I do not own anything from the Batman universe sadly lol.

All Jason Todd wanted was to watch his favorite movie Titanic at a Gotham City movie theater at a random midnight showing. That’s all he truly wanted. He wanted to take a break from being Red Hood for once. Hell, he even brought his boyfriend Roy Harper with him so that the red head could enjoy it with him too! Clearly, his horny boyfriend had other plans.

“I’m going to fucking kill you, Harper.” Jason hissed out lowly underneath his breath, biting his tongue to hold back a whimper when the older hero gripped his member underneath his jeans.

“You can try,” Roy said with a low chuckle, not looking away from the movie screen. He smirked while watching a scene where Leonardo DiCaprio was standing behind Kate Winslet at the tip of Titanic as the watch the sunset together. “I can tell that you’re enjoying this.”

Jason snarled at him when the archer gripped him tightly in his hand. He tried to ignore Roy’s hand on him but knew that he was failing when his boyfriend started to stroke him at an unhurried pace. He grounded his teeth together to stop himself from moaning in the nearly empty theater. “I already came up with over a hundred different ways to kill you,” Jason managed to say. “Don’t think I won’t.”

Roy rolled his eyes in the darkness at the former Robin’s empty threat and leaned over close to Jason’s ear. “Don’t pretend that you aren’t enjoying this.” He said in a sweet calming voice, leaning in close to lick the shell of Jason’s ear with his tongue.

“The whole—fuck,” Jason mumbled out in a breathlessly tone, throwing his head back against the seat when the older archer started to pick up the pace of his strokes. “Reason of me bringing you here is so you could watch the movie too you bastard.”

“Excuse you, I am enjoying every minute of watching your celebrity crush drawing Kate Winslet naked. I can multitask. Now, shut up, I’m trying to listen to their conversation.” Roy said lightly, watching the big screen in front of him.

Jason covered his mouth with his hand to swallow down his upcoming moan as the older man played at the head of his member with a calloused thumb in a slow nerve-racking circle that made him squirm in his seat. He made a promise to himself to get revenge on the skilled archer once they get back to his safehouse.

He didn’t move a muscle when he felt Roy’s warm breath brushing against his ear again. “I can tell that you are close, Jaybird. You want to come. Don’t you?” Roy whispered, leaning down towards the nape of his neck, chuckling when Jason started to shiver.

Jason side glared at him. “What do you think?” he growled out lowly, biting the inside of his cheek when Roy gripped him at the tip again. “Damnit, Roy.”

Roy chuckled against the antihero’s neck. He hummed quietly against it before licking it with his tongue, making Jason suck in a breath next to him. “You are not allowed to come until Titanic is over,” he whispered in a low and commanding voice that would always make Jason squirm. “Think you can do that Jay?”

Jason tried to give his annoying boyfriend the deadliest death glare he could manage but all the older hero did was smirk at him in the semi darkness of the movie theatre as he continue to jerk him off. Roy didn’t say anything when he turned back towards the big screen of Kate Winslet running through the empty halls of the sinking ship.

He was going to make the archer pay for this. He was sure of that. Jason actually didn’t mind that Roy was getting him off, but to tell him that he couldn’t come until the movie was over was just plain cruel. Jason has seen this movie over a thousand times and knows that he still has over a hour or so left of the film.

So yes, Jason is going to make sure that Roy will pay for this.

Jason gasped when Roy wrapped his hand around his member him and started to stroke him slowly, making his toes curl up in his boots. His whole body shivered when the smug looking redhead started to run his finger along at the top near the slit.

The former hero knew that Roy was enjoying every minute of torturing him while he sat leaning causally against the armrest of the seat, his eyes glued to the screen as his other hand was shoved in his pants. Even in the semi darkness, Jason knows for a fact that he was smiling.

Jason hissed lowly in his throat when Roy glides his hand down further and lightly gripped one of his balls and started to play with it. He rolled his eyes when the older hero chuckled even though nothing in Titanic was even remotely funny. In fact, everyone on the ship was currently holding on for their dear lives while the ship breaks into two.

Good, good, which means the movie is almost over and Jason could finally release himself into Roy’s warm hand.

“Tell me Jaybird,” Roy whispered, leaning in closer to Jason as he spoke. “You’ve seen this movie more times than me. Is it almost over?”

“Yes,” Jason responded with a gulp when Roy paused his movements. He watched him look back at the screen before turning back to look at him and lifted a brow. “Why?” he asked with slight hesitation, wondering what Roy was planning now.

Roy gave him a wicked smile and removed his hand from Jason’s pants and leaned away from him. “Good. You can hold on till then, can’t you?” he asked smoothly in a calm voice. “My hand got tired from jerking you off.”

“You mother—”

Roy placed a finger to Jason’s lips in order to stop him from cussing loudly, tsking at him in disappointment at his almost outburst. “You have to be quiet. We’re not the only ones here.”

Jason scoffed at him as he leaned away to look around at the medium size theater room, frowning when he spotted an elderly couple near at the bottom right corner near the exit with arms wrapped around each other as they watch people falling into the deep depths of the ocean. “I hate you. Just know that you stupid archer.”

All Roy did was shrug his shoulder as he leaned back against the seat with his chin underneath his hand and Jason shifted uncomfortable in his seat, trying to ease the ache that was in his pants. He curled his fist up into a ball as he tried to focus on the movie where Kate and Leonardo were saying their final goodbyes.

He doesn’t understand why Roy would do this. What was the point in jerking him off if he wasn’t allowed to come until the movie was over? Was this a sick game to him?

Jason shifted his leg over to the other, taking a deep breath when his hard on was starting to become bothersome and he wanted to come badly in order to ease it. He dug his nails into the palm of his closed fist and tried to ignore it.

Perhaps this was a test? Jason wonders to himself, looking over at the calm archer next to him, trying to figure out why he was testing him and wanted to know what will happen if he did manage not to come until the movie was over. Will he get some type of reward? If so, what kind of reward would it be?

He smirked to himself as he removed his leg and leaned back comfortably in his seat. Even if he didn’t get a reward for this, he will prove to his stupid boyfriend that he can wait until after the movie. He couldn’t wait to see the look on his face when Roy sees that he didn’t come.

The two of them didn’t say a word to each other when they returned to one of Jason’s safehouses in Gotham City. He smirked as he hung up his red jacket on a hook when Roy gave him a look when he had walked by.

“You’re just going to ignore me now?” Roy asked him with a roll of his eyes, grabbing the younger man by his wrist. “What gives Jaybird?”

“You are really asking me that now?” Jason asked with a shake of his head, removing himself out of his grasp that Roy had on him. “This is payback for making me wait. This is all your doing. Don’t get all pissy now.” He told him, walking away towards the stairs of their bedroom, waving him off with a flick of his wrist. “Oh!” he said, turning around with his head cocked to the side. “No sex tonight.” He said, chuckling when the archer gasped loudly.

“Wait, come on, Jaybird you can’t mean that do you?” Roy asked in a panic, following Jason up the stairs. “It was just a little game I swear!”

“Your fault, Harper. Not my mine.”

“Jaybird!”

#jayroy #jason todd x roy harper #Fluff #JayRoy fic #Red Hood #arsenal #batman universe #fanfiction

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incorrectbatfam · 4 years

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If the Marvel and DC universes came together, who would be friends with who and what would it be like?

Bruce Wayne and Tony Stark would have the most complicated dynamic. Iron Man and Batman have a longstanding frenemy-like feud over who’s the better tech hero, but the public lowkey ships the billionaires. In reality it’s more like Bruce bringing his kids and a plate of Alfred’s deviled eggs to the Stark family’s Sunday brunches and they complain about “kids these days” over mimosas. Pepper and Selina laugh at the men in their lives while Alfred and Rhodey just give each other knowing looks

Dick would hit it off right away with the spider people—Peter Parker, Gwen Stacy, Miles Morales. They show off parkour moves while Ganke Lee filmed from the ground. Sometimes the four of them would lurk in high places when patrol is slow and play pranks on the other heroes, like having Miles turn invisible and venom strike Superman or stealthily replacing the Jason’s bullets with paintballs. They also spend a LOT of time talking crap about their guardian figures. One mission even led them to meet alternate universe versions of themselves (plus a strange spider pig)

Speaking of Jason, he would get along great with Frank Castle and Wade Wilson. They all share the same MO, antihero status, and moral compass. Most heroes disapprove of their methods, so it’s easy to see why they would seek camaraderie with each other. They’d go for drinks after patrol, where they’d laugh at Weasel’s jokes or catch up with Luke, Jessica, and Danny. Deadpool would insist on being Red Hood’s dance partner instead of Arsenal when the DJ plays Celine Dion. Sometimes they’ll get so drunk they can’t walk and, to much annoyance, crash at Daredevil’s

Going with the theme of birds of a feather, Tim would revel in awe as the Hulk gives him a private tour of everything, including the lab Ant Man and Wasp operate out of. Scott Lang would be thoroughly impressed by Tim’s prodigal intellect, but also jokingly warns the boy to stay away from Cassie. Hope Van Dyne and Bruce Banner would gladly take Tim under their wing were it not for the Batman being like “nope, that’s my genius kid, not yours”. Plot twist: Tim fanboys over Captain America and Winter Soldier the most

Damian would bring together the forces of DC’s Teen Titans and Marvel’s Young Avengers to cover as much territory as possible. America Chavez’s star portals helps get them to off-world places for missions that Noh-Varr and Jon-El take on. The two Billys—Shazam and Wiccan—often train together because they’re “same name buddies”, while Hulkling and Beast Boy form their own “animal people club”. Damian has high regard for Kate Bishop as an archer, but makes fun of Clint Barton and Oliver Queen all the time

Cassandra and Stephanie are empowered badass ladies, so it’s no surprise when they becomes best buddies with Black Widow, Captain Marvel, Valkyrie, and Gamora. Plus, she gets to go to space whenever she wants with these ladies. When they’re not fighting Kree forces, they’re filming Star-Lord’s bad dancing to ‘80s music or trying to see who can come closest to petting Rocket (Cass did it quite a few times). They’ll have girls nights on spaceships with Mantis and Nebula where Steph introduces the non-Earthlings to stuff like manicures and bad 2000s high school movies.

Duke Thomas and Kamala Khan are one in the same. Duke first recognizes Kamala not as Ms. Marvel, but as SlothBaby, author of the Wolverine and Storm In Space fanfiction. Sam Alexander likes to joke that Signal is the new Champions member because Spider-Man is “too busy playing with his Dick”. When they’re not patrolling Gotham or Jersey City, they’re at cat cafés writing collaborative fanfics or discussing social issues on forums with ROFLCopter as mediator. They both ship Carol Danvers and Peter Parker, but teased the idea of a Captain Marvel/Black Lightning ship. One thing’s for certain: they agree BadMachine1999 got Ms. Marvel’s character all wrong

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gravityfissure · 4 years

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[meta] What, if any, games, movies, books, tv shows, etc. have you drawn influence from for your character?

Okay so round 2, much in the same vein for Arthur there are... A lot. Possibly even more things that influence and inspire where Otto’s muse and views comes from. That said in writing this there are also a LOT of similarities between the characters I can pick out certain attributes and to be honest there’s a lot of crossover with the traits and characterisations highlighted.

Namely: playful and proactive, self-serving yet loyal to those that meet his criteria as to who is deserving of it. A grifter by nature that will approach almost any situation if he feels he’ll get something out of it while equally hoping that one day someone might actually bother to ask him (and maybe give him a true reason) to stay.

Dorian - Dragon Age: Inquisition

Uh, the heir of a famous magical dynasty? A flair of magical talent that made him the envy of his peers? Studied at one of the best colleges for the magical arts before being kicked out and privately tutored before eventually vanishing and being found by Magister Gereon Alexius who offered to take him as his apprentice eventually becoming a fully-ranked enchanter. A pariah for opposing every fault his homeland is renowned for?

It’s been years since I’ve played DA:I and Dorian always was one of my favourite characters but tbh I completely forgot his background and it’s only in revisiting it now I actually realise the similarities in the framework of their characters/development/story line. Not to mention the fact they both enjoy playful flirtation and witty banter and oppose the things they don’t fit into their view of the world. They will probably do the right thing, but that doesn’t mean they might not take their sweet ass time in actually getting into a situation.

Isabela - Dragon Age II and Inquisition

AND AGAIN. Isabela’s a great character - a pirate scourge of coastlines and nations around the world who values fun, freedom and getting ahead in life. They both value solving situations in clever and devious ways and getting ahead even if it means being somewhat selfish when they’re dealing with other people, example: Otto conning Deirdre out of $28k when she tried to cover for Regan or those plans he has to try and record a banshee scream? They’re both always down for trying to squeeze that little bit extra out of a person. If it one ups them in life and people are gullible enough to fall for it well... They really did it to themselves didn’t they?

But that doesn’t mean there aren’t depths to that hardened persona they both present. There are actual feelings and things hidden behind the wall and appearance they both present to the world. And underneath it all they’re both afraid of being left behind, but figure it’s best to push people away before they decide to leave of their own volition. At least that way they can say they have some control over the situation..

Sera - Dragon Age: Inquisition

Apparently this is a DA characters list but you know what sue me. x) So NEXT on the list is Sera, an elven archer who is incredibly impulsive and reactionary. She takes pure delight in humbling the established authority she views as arrogant and selfish. It’s less about what’s right in the grand scheme of things but more about what’s right in that very moment. She doesn’t believe in actions taken for a greater good, instead viewing it as just another excuse to hurt others undeserving of such treatment because it’s easier than making the truly hard choices in life.

Felix Dawkins - Orphan Black

Look Felix is one of the many fascinating characters on Orphan Black. Don’t get me wrong there are SO many and it’s a great show. But Felix is a character whose very existence proves that you can have a very effeminate, boisterous, loud, witty gay character and not have him be limited to the perpetuation of the sassy gay friend stereotype. Why? Because he has a whole complex personality beyond just that aspect of his life. He’s got to deal with real life issues on top of all the drama clone club brings into his life and he deals and he survives and he cOPES.

Not to mention he’s a positive representation of foster children being happy, positive representation of LGBTQ+ characters and gives positive representation of sex workers. Not to mention on top of all that representation you see how he’s smart as hell, the only person who knows Sarah well enough to keep her on track. The BEST uncle to Kira and one of the most supportive characters on the show.

Sarah - Orphan Black

Felix’s foster-sister, another character that shows the positive and complex dynamic that foster families tend to have while also demonstrating the fascinating found-family dynamic with clone club. Sarah’s interesting because she’s a natural chameleon, she’s street-smart and tough, a born outsider living on the fringes by her wits while in possession of a dark sense of humour that sees her by.

Sarah and Otto have a rather morally ambiguous compass, they’re both characters who swing between being very self-serving and selfish and acting for the greater good when they decide it’s needed. Not to mention the act as if they don’t care about other people’s issues (see clone club) when actually it transpires they both might just care a little more than they actually let on.

Garcia Flynn - Timeless

Unfortunately Garcia fits the my favourite character type: tall, dark, snarky, sassy antihero motivated fiercely by love and willing to do things of questionable morality against a greater evil, self-aware and doesn’t make excuses for his behaviour, but isn’t wringing his hands over it either. A character who so dearly loves the people in his life (see revenge for his wife and daughter) so much so he’s still fighting for them 5 years later just to be alive and not even to have anything to do with him again because he knows the things he’s done are enough the he could never go back to being that person for them. The man who loved his mum and went on a trip just to make her happy and save his brother. When he truly cares for someone he does EVERYTHING for them while somehow having none of the toxic jealous possessive business, despite his well-attested Garbage Drama in other departments, and just generally being a mature adult and an essentially good person who has gone down some really dark places and is finally rediscovering what he’s buried and lost. Look man, I’m a suuuuuuuuuuuuucker for found family, enemies to lovers, and villain becomes weird family member. And he covers all of those, so yes.

There’s a lot of that I’m planning and drawing on for Otto, this weird currently antagonistic little self-serving shit who is out for his own ends but maybe along the way finds some semblence of a conscious and maybe has a fair few moral dilemmas and self-questioning moments along the way? Who maybe finds friends (and even love?) Who has to deal with FEELINGS and things he’s repressed for years because of the things he’s done just to survive the life he fell into? Uh, yes give me give me give me.

Jesse Custer - Preacher

Okay, so this one’s kind of another given. Jesse’s another character I’m fascinated with because before Genesis’ arrival he was a down upon his luck preacher. A man who was trying so hard to fit into his dad’s ideal and not let the life he had before affect his day to day. Except it all goes to hell in a handbasket because of course it does.

Jesse essentially gains the ability to make anyone do anything he says. And that power? It’s addictive, and we see the struggle he goes through to learn how to control and manipulate it to his own end. To begin with he tries to right wrongs, to tell people to stop doing the bad things they’re doing in their lives and fix them so they’re better people but with each act that power and god-complex grows. It goes to his head until we meet the moronic messiah Humperdoo and Jesse eventually agrees to take his place. The messiah-complex and power corruption is complete, and the repercussions of his choices are devastating especially with how they impact Cassidy or Tulip and the repercussions in Angelville.

Much like Otto’s own magic, the more its used the more enticing it is to carry on using it for more and more things. At first it was small deeds, little acts of good until Otto in kind started to realise that good deeds weren’t enough to make a change. They weren’t enough for other people around him and with each act it grew and grew - and it continues to grow. The question is to what level? And if it ever got out of control, would he ever know how to stop it?

Crowley - Good Omens

An overall non-threatening demon, who tries to be “evil” in his own way to fit into the role his society (other demons) expect of him. Crowley wants to save the world (for his own reasons) and can be rather self-serving in certain moments. There’s plenty of times he tried to convince Aziraphale to run away with him and let everything else forgive the irony but for lack of a better term “go to hell” but he always comes around in the end (typically to a Queen track) to help when it really counts for something.

Not to mention his flare for the dramatic, very rarely thinking things through, with many of his own plans backfiring on him.

Sound familiar?

Wrench - Watch Dogs 2

Part-hacker and full-fledged anarchist who wears a freaky mask with LED displays capable of bizarre emoticons. He's vulgar, crude, entertaining and an absolute adrenaline junkie who lives on the edge. He's jokingly called the wrench because he's the wrench you throw into somebody's gears to grind them to a halt.

The final one on the list, because it’s a side I haven’t yet played into so much but I’m curious to given means and opportunity to. Otto does have some inclination towards an anarchistic nature, if a system doesn’t seem to work he isn’t afraid to speak out or more likely act out against it. Whether it’s in the greater good or not isn’t so much relevant rather that he would happily take a torch and burn something to the ground if it meant starting again with something new and better in its place. It’s definitely something I want to explore more down the line.

I also find it interesting the whole concept of “hiding behind a mask” which is something wrench quite literally does. Both have built personas to defend themselves from people breaking through and seeing that what actually exists on the other side is a rather shy and awkward person who tries to “act out” and be “dramatic” in an attempt to get attention from a world in which there’s so much noise how could anyone ever feel like their voice mattered let alone be heard unless they started shouting “HEY, LOOK AT ME” at the top of his lungs?

#Anonymous #answered #wickedsanon #meta #headcanon #// this GOT SO LONG

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aion-rsa · 3 years

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How Boba Fett Actor Jeremy Bulloch Set the Template for The Mandalorian

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Boba Fett’s green, T-visored helmet is a menacing visage that’s nearly evocative of Star Wars as Darth Vader’s; one first embodied on film by actor Jeremy Bulloch, who, sadly, passed away on December 17 at the age of 75. However, the legacy that Bulloch leaves behind has proven far greater than a character with minimal screentime and dubbed lines seemingly had any right to possess. It’s a legacy to which hit Disney+ series The Mandalorian owes a great deal of thanks.

Bulloch, born in Leicestershire, England on February 16, 1945, wasted little time getting himself onscreen with uncredited roles—while still an adolescent—in 1958 films Violent Playground and Titanic tragedy movie A Night to Remember, continuing to work steadily for years in U.K.-aimed films and television shows. He fielded a notable four-episode 1974 run as Hal the Archer on Doctor Who (opposite Jon Pertwee’s Third Doctor); his second run on the series, having previously fielded a three-episode role in 1965 with William Hartnell’s First Doctor. He was also visible in 1977’s The Spy Who Loved Me (with Roger Moore’s James Bond) as a crewman on the HMS Ranger. However, that decade’s end would yield his defining role.

Fate would land in Bulloch’s lap in 1979 when his half-brother, Robert Watts, an associate producer for director Irvin Kershner’s 1980 Star Wars sequel, The Empire Strikes Back, offered what would become a career-defining role as bounty hunter Boba Fett. While the role put Bulloch in the highly-anticipated sequel to the world’s biggest blockbuster, it came with the crucial caveat of hiding his face inside a helmet, with his lines eventually dubbed over, seemingly making it more of a stuntman’s gig. Indeed, as Watts told StarWars.com of the almost blue-collar nature of Bulloch’s casting, “I’d never managed to give Jeremy a job on film. So, I rang him up and said, ‘If the suit fits, the part’s yours.’ He came in and it fit.”

Lucasfilm

Bulloch found himself tasked with bringing to life a character who, at that point, existed as a vague concept, conceived by designers Ralph McQuarrie and Joe Johnston, and eventually debuted in animated form for the notorious 1978 Star Wars Holiday Special (voiced there by Don Francks,) before taking shape as Kenner’s mail-away action figure (one that’s extremely valuable these days). Thus, Bulloch may have been the first actor to play Boba, but he didn’t exactly originate the character. Moreover, it wasn’t even his only role in Empire, since he also fielded the minor (and unhelmeted) part of Lieutenant Shekil, the Imperial officer who was holding Leia on Bespin as she tried to warn a just-arrived Luke about Vader’s trap. Yet, that fact didn’t prevent the actor from finding a way to put an unforgettable stamp on the seemingly perfunctory role of Fett.

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“I thought of Boba Fett as Clint Eastwood in a suit of armor,” Bulloch said of his initial approach to the part, according to StarWars.com. Thus, inspired by Eastwood’s Western films—notably the ruthless antihero elements from his 1960s Spaghetti Western trilogy run as “The Man with No Name” for director Sergio Leone—Bulloch was able to project an attitude through Fett that didn’t necessarily reflect what the Empire script demanded. While Fett was simply in the film to be the Imperial-contracted bounty hunter who—after cleverly out-foxing his competitors—successfully tracked the Millennium Falcon to its destination of Bespin, Bulloch’s nuanced physical performance told audiences everything they needed to know about the character through his movements and gestures.

Disney/Lucasfilm

Bearing his Eastwood-inspired demeanor, Bulloch’s Fett had an ominously calm stance and constantly cradled his rifle in a way that made you believe that he could, in a blink of an eye, drop anyone stupid enough to run afoul of him. This was immediately clear from the first moment we saw him in Empire, standing amongst the other bounty hunters on the bridge of Darth Vader’s Star Destroyer, being specifically called out by the villain, who said “I want them alive, no disintegrations,” to which he—with shocking temerity—insolently responds, “as you wish.” We’d see more of that attitude later in the film when he protests to Vader of his prize, Han Solo, being put in carbonite, “What if he doesn’t survive? He’s worth a lot to me,” to which an uncharacteristically conciliatory Vader promises compensation if Han dies. Indeed, anyone who can get away with talking to Darth Vader like that must be worthy of interest. In fact, at one point Boba was eyed to be the primary villain of the threequel that we now know as 1983’s Return of the Jedi.

Interestingly, it was actor Jason Wingreen who delivered Fett’s lines in Empire (he had none in Jedi, save for a scream track), bringing a complementary gruffness apropos to the character’s Western inspiration. That element, however, would be one of many casualties in the 2004 DVD releases of the Original Trilogy, in which Wingreen’s impactful lines were replaced by re-dubbed dialogue from Temuera Morrison, who played Boba’s father, Jango Fett, in 2002 prequel middle act Attack of the Clones and (in a recent development), a Sarlacc-survived Boba himself on The Mandalorian. While Morrison has since proven himself to be a great Boba Fett onscreen, his retroactively-inserted lines in Empire—a move made to create cross-trilogy synergy—unfortunately diluted the character’s mystique, since they were delivered unemotionally, as if Boba was simply taking orders like one of his gene-modified subservient Clone Army cousins.

Disney/Lucasfilm

However, Boba Fett’s mystique remained mostly undiminished, seen as a stoic loner unconcerned with the Force—light or dark sides—and is simply trying to make a credit in a galaxy filled with “scum and villainy,” a true Western archetype. Thus, that long-held perception—enforced by Bulloch’s performances—eventually yielded The Mandalorian, which was the manifestation—in a serialized television format—of everything that the fandom had always come to believe of Boba Fett, except through Pedro Pascal’s helmeted, sartorially-similar, jet-pack-flying title character, who we’d eventually learn is named Din Djarin. Moreover, the very title of the series reflects an entire extension of the evolving Star Wars canon that stems directly from Boba, namely the planet Mandalore, the Mandalorian people, its royal lineages, Djarin’s ascetic “this is the way” subsect and even animated favorites like Star Wars: The Clone Wars’ Bo-Katan Kryze (now played onscreen by original voicer Katee Sackhoff,) and Star Wars Rebels‘ Sabine Wren. The entire concept fundamentally came into being to explain Boba’s backstory, and took shape in the way it did because of the seemingly minor element of Bulloch’s onscreen work behind a helmet.

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Consequently, Bulloch’s Boba Fett role may not have been fodder for Oscar clips, but it did provide character-defining, emotive physicality almost akin to what we’d later see recognized in the motion-capture era of films, notably with important onscreen-hidden performers like Andy Serkis. As George Lucas expresses in a statement, “Jeremy brought the perfect combination of mystery and menace to his performance of Boba Fett, which is just what I wanted the character to convey,” adding, “In addition, Jeremy was a true gentleman who was very supportive of Star Wars and its fans, and I’m very grateful for his contributions to the saga and its legacy.”

The post How Boba Fett Actor Jeremy Bulloch Set the Template for The Mandalorian appeared first on Den of Geek.

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mehlsbells · 4 years

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My upbringing was starkly black and white, everything strictly categorised as sin and acceptable, allowed and not. The massive ‘sin: not allowed’ category swallowed everything in legalism and immutable consequences. I fell in love with noir partly because it has no such hangups.

I savoured noir’s evocative language and sexual undercurrent. I learned to believe exposing repressive authority and dirty deeds was valiant even if ultimately futile, and justice could be delivered even when corrupt systems stymied it. The hardboiled detective attracted me from every angle, and I dreamed of both being and fucking the daring mystery-solving, smoking, drinking, dame-bedding wiseass. The detective archetype is dangerously appealing; stalwart antiheroes holding to their personal code while all around them people sold their souls for a bottle of scotch, a land deed, a tempting woman or a hard man. Terribly tragic, and as such, terribly romantic.

Like a suspect in a smoky dive bar, what constitutes ‘loyalty’ in noir is hard to pin down, but while most supporting characters treat loyalty as a purchasable, expendable, flexible commodity, [anti]heroes Spade and Archer, Gittes and Dewitt, Mars and Hammer, et al. hold fiercely to their personal definitions thereof. These ideals often keep them from working with a partner, as they can’t find others who share their notions longer than a book’s opening chapters, a film’s first act. Sometimes, in a twisted blessing, their partner gets murdered before committing betrayal. (‘Committing betrayal.’ What a cruel grammatical construction.)

Fairly unique among their set, Charleses Nick and Nora manage loyalty and happiness to and with each other, but not only does their teasing openly relay insecurities in everyone outside their connubial circle, their origin story is shot through with loyalty conundrums. The crux of The Thin Man revolves around characters leveraging Nick’s allegiance to an old friend to make Nick and Nora investigate a suspicious death/disappearance, similar to the relationship between Marlowe and Terry Lennox in The Long Goodbye.

Marlowe: You didn’t have much choice, huh? So you used me. Lennox: Hell, that’s what friends are for.

Many noir tales examine murder, corruption, lost love, incest, power, grasping for companionship in sex and booze and partners. Few are so nakedly about friendship, loyalty, and the unique betrayal they set you up for as The Long Goodbye. As the game Lennox and Marlowe play in their first scene tells us, all Marlowe’s relationships are games of liar’s poker he’ll lose. The only question is: sooner, or later?

The film’s opening involves the great Philip Marlowe cajoling his hungry cat to eat first a concoction of cottage cheese and raw egg, then generic cat food. The two mewl, mumble and scratch in their understanding standoff. The film ends with Marlowe coolly justifying shooting his once-friend because Lennox indirectly killed the cat. Everything between is a meditation on loyalty.

As best exemplified in Nick and Nora Charles, noir understands relationships featuring fidelity and comfortable insults are the ones which really matter, so the snarky–sweet caring–codependent way Marlowe and hungry cat banter intentionally evokes true friendship. Altman called that opener important and Marlowe’s relation to his cat commentary on friendship: no matter how hectic his life, Marlowe is concerned the cat eats, whether the cops scare him, if he’s lost in LA’s mean streets.

Like most of his genre, Marlowe is destined to traverse the criminal underworld, continually learning the hard way he’s more loyal to friends, clients, even his constantly stoned neighbours, than they to him. He can’t bring himself to act on his cynicism until he’s burnt, and is a lost soul not because he’s dumb or drugged – he turns down even his neighbours’ hash brownie – but because he can’t find anywhere to put his trust.

Though they harass him and he blusters against their threats and handcuffs, Marlowe’s relationship with the cops is his most stable. He despises their work, they hate and stymie him, but at least he knows where he stands. Everywhere else is shifting sand and empty promises, golden and glittering by daylight, cold and dangerous at night. Under it all play morphing renditions of “The Long Goodbye,” refrains evolving and fading as quickly as relationships, adding atmosphere as Los Angeles underworld characters succour the detective and each other until betrayal becomes convenient.

As he searches for answers in mysteries and others, Marlow smokes to dull the pain – take a shot every time he strikes his match on a new surface, you’ll be drunk before the halfway point. Elliot Gould’s physicality superbly conveys Marlowe’s hurt and insecurity, shambling gait literalising existentially unsure footing.

Altman’s shots and Zsigmond’s cinematography also expose Marlowe’s mental state. The beautiful police station tracking shot puts us in Marlowe’s gumshoes, showing his strain as he attempts to sort through the mountain of information, theories, and grief he’s been buried under. The long dolly across the grounds of the clinic has a similar effect, moving first methodically, then more frenetically as Marlowe’s frustration builds. Exposition of addresses and phone numbers unroll with slow camera movements over long takes, revelling in the acting’s stillness, taking a less usual route than montages to make the viewer feel Marlowe’s tedium and loneliness.

The odyssey is wrapped in perfectly exposed beach scenes, daytime sands yellow-tinged and California to their core, nighttime painted deep blacks and grainy red with Eileen’s dress the only spot of yellow. Doubled imagery and symbols of duplicity abound, the most striking of which involve the beach. First we see Marlowe in the glare off Wades’s window, projected between quarrelling lovers as they snipe at each other. Later, in the same window, Eileen is shown two-faced as she and Marlowe talk while her husband charges suicidally into the inky sea.

The whole film is a gorgeous depiction of our ugliest impulses, and Altman is the perfect director for it. Through various lenses and genres, Altman’s work examines intimacy and pain which can be leveraged by only those closest to us. Noir’s peripheral characters are who many of Altman’s other films center: desperate, impotent men; disloyal lovers; marriages on the verge; frustrated humans performing drastic acts. The Long Goodbye digs into side stories many noirs don’t unless impacting the protagonist directly: Farewell, My Lovely is more concerned with Marlowe’s relationship to the women in his path than the women themselves; American Gigolo hardly contains a conversation Julian Kaye isn’t in; Evelyn’s relationships in Chinatown mostly evolve when Jake is around to observe, and he’s around almost every frame. Some of The Long Goodbye’s more virulent events or breakdowns happen while Marlowe is out of the picture, or listening to nothing but crashing waves.

Altman is interested in examining these stories for their own sake, and shows it by examining side characters with the reflections motif, too. Zsigmond uses Eileen’s windshield brilliantly to reflect her facade as Marlowe chases her through the streets. The stoned hippy neighbours are introduced surrounded by floor-to-ceiling windows, one dancing with herself in the mirrored glass. The gate-guard-slash-impression-artist is reflected in Harry’s shiny car sidepanels, a symbol of security who pretends to be many other people, then shows himself more trustworthy than people pretending to be someone they’re not.

The guard also displays The Long Goodbye’s wicked sense of humour, along with the horny lookout whose ogling of stoned half-naked neighbour women allows Marlowe to sneak away. There’s the slapstick of Harry swinging haplessly on the gate trying clamber over as he imagines a detective should. Marlowe plants a sloppy handprint on the interrogation cell two-way mirror, then paints his face with fingerprint ink, cops impotent to stop his clowning. The guard dog fetching her owner’s stick from the waves has a twisted hilarity to it.

Which brings us, as the film continually does, back to loyalty. Relationships with animals are throughout: besides his cat, Marlowe nervously banters with the guard dog and talks as cheerfully as a damned man can to strays lying in the road. Ultimately animals’ loyalty – even only to the hand that feeds and then betrays them, pictured perfectly with mounted ducks – is still stronger than that of everyone else in his life, and loyalty is important to him.

If only I’d recognised earlier how much my identifying with pulp heroes was due to my own sense of loyalty, deservedness of recipients be damned. “Their cynicism exactly stems from their compassion, [their] hardness is a scar tissue of a heart they can’t stop the world from breaking over and over.” I weirdly admired Marlowe hoping against hope, believing those he loves once, then again. You know what they say about fools.

Marlowe: Nobody cares but me. Lennox: Well that’s you, Marlowe. You’ll never learn, you’re a born loser.

The Long Goodbye is Chandler’s most personal work. “You writers have your own special way of describing, don’t you?” is the movie acknowledging this sure as Chandler’s book commented on his deep insecurities, ideals, and philosophies. (The film references the book many times, including the face-bandaged man as a nod to Book Terry’s extensive plastic surgery.) Roger Ebert said in his original review, “The private eye as a fiction device was essentially a way to open doors; the best novels of Chandler and the others are simply hooks for a cynical morality.” Like Inherent Vice, the criminal underworld is alluring backdrop and murder the smaller mystery behind the real question of whether the detective can uphold his personal code in a world where ‘a man is only as good as his word’ simply means most men are no good. The real question, the crux and heart of the matter, is Will they keep clinging to that code? Why do we keep falling for those who throw us over?

The thing about franchised noir detectives is, as characters or story properties, they can’t fundamentally change. They solve mysteries, their settings are updated from 50s to 70s to aughts to 2019, they jadedly swear they’ll never trust again, they may seem to learn their lesson. But in the end the stories reset. Sure as sunset and the next story, they get let down, used, double-crossed, stung, only to begin again when the next sultry shadow darkens their door. Once again they give their loyalties to a friend in need, a dame with legs up to there. Once again the dames and mates evaporate; or worse, explicitly sell our fallible hero upriver, relying on said hero’s tragically loyal personal code to prevent retaliation.

We’ve all had those dames and mates. We’ve all sworn to never love again, only to willingly set ourselves up for more heartbreak. People who mean what they say only so long as they feel like it. Family who love you so long as you’re meekly in line. Dames who say “I love you” in the night and “I’m leaving you” in the morning. Business partners who call you family until it’s more expedient not to be. Friends who say forever but mean for as long as you’re fun, and you’re no fun when you’re stumbling through a haze of pain or grief. Homme fatales who sell you out when a better offer comes in. Lovers who are loyal while you do exactly what they want.

In the first of two crucial scenes which start placidly before exploding into brutal violence, thug Marty gives a speech to/about his girlfriend Joanne. “Delicate and sweet . . . I love you. I do. . . . The single most important person in my life.” Ah, love, the highest form of loyalty.

Then he hits her across the face with a glass bottle.

Do we feel sorry for her? is the same question Tarantino asks in Once Upon A Time… In Hollywood when Brad Pitt’s Cliff smashes sadistic Sadie’s face with a can of dog food. The blow to Joanne’s face is lighter and unprovoked, but though her crimes are lighter, her madonna-like framing is window dressing. She blithely enjoys fruits of Marty’s torture, murder, and extortion, knowing her flippery is bought with blood money. (Her blow’s aftereffects are visually replicated by Jake’s bandages in Chinatown – directed by Polanski, who is depicted in Once Upon A Time, making these films a Möbius strip of themes, imagery, period, and settings.)

In different ways, Joanne and Sadie establish The Long Goodbye and Once Upon a Time‘s cruel worlds, where psychopaths and rich ruthless men get their way. Both center men with drinking and smoking habits, a dubious past, and a personal moral code. Marlowe and Cliff fight against the establishment, for themselves and their friends. Though they don’t believe in innocence, they want to believe people exist whose souls at least aren’t as dark as the rest of ours. Within their morality is loyalty; Cliff to Rick Dalton, Marlowe to Terry or at least the idea of him: “Terry Lenox was my friend you motherfucker . . . you don’t deserve to be alive you fuckin’ pig.” Rick and Terry don’t return the loyalty, yet Cliff and Marlowe can’t help themselves. It’s their code.

The Long Goodbye ending Ebert calls “off the wall” I see as wish fulfilment, same as Once’s. In the film Terry gets justice delivered by Marlowe, Bracket’s screenplay ‘fixing’ the book’s injustice. Altman revels in this playground where disloyalty equals death and real world consequences are momentarily suspended for a warped fairy tale ending.

The final shot is reminiscent of Holly Martins waiting on a tree-lined boulevard in The Third Man, another film featuring a man unendingly loyal to a death-faking friend who didn’t deserve such fidelity. The Long Goodbye’s last shot brings yellow in again, reminding us of Eileen’s dress, the faded sun on the beach, letters and pledges of friendship aged and brittled by time. Only here, Marlowe’s the one walking away, getting as happy an ending as one can hope for in noir.

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Lennox blindsided Marlowe, then called him a fool for expecting others to do what he would in keeping his word. Pulp detectives are thrown under the bus or off a cliff with the shrugged excuse along the lines of “I knew you were tough enough to survive” or “sorry, you were just collateral damage.” Given enough time, “I threw you under the bus to save myself” becomes “It was the best option for both of us” becomes “you survived and are better for learning this lesson, you should be thanking me!” This essay draws parallels to Marlowe and Veronica Mars’ getting run over because of their clinging to loyalty, “an anchor that binds.”

But every detective also has their breaking point, the point at which they say the rules have been violated enough to justify them taking matters into their own hands.

Marlowe: I have two friends in the world. One is a cat. The other is a murderer.

Is loyalty its own reward? Chandler’s book seems to argue it is, but Marlowe shooting his once-friend in the film argues something else. Grown and free of the romanticised prism Younger Me viewed Marlowe through, do I believe Chandler’s ending or Brackett’s?

The teenager who first read Chandler’s book would choose idealism: be true to your code, give your loyalty, those who turn on you will get what they deserve while you can keep the moral high ground. Even with grim answers in front of me, maybe I’d make like Marlowe, clinging stubbornly to loyalty disavowed by its recipient, or keeping myself preoccupied searching for answers and other mysteries.

While I want to hold to those ideals still, what are movies for if not to show us what we really want, wish-fulfilling our basest instincts? Watching now, I can’t help but savour that moment Marlowe tosses his cigarette, reaches into his waistband, and coolly shoots the man who treated his loyalty as commodity.

For #Noirvember, I wrote about the concept of loyalty in noir in general, and "The Long Goodbye" in particular. My upbringing was starkly black and white, everything strictly categorised as sin and acceptable, allowed and not.

#loyalty #noir #noir detective #Phllip Marlowe #Raymond Chandler #Robert Altman #the long goodbye

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teentitansrpgarchive · 6 years

Text

Speedy App

Canon Character Application Form

Roleplayer’s name: Fe

Age: 20

Gender: Gal

Predicted average weekly activity level: I should be able to meet the requirements of all characters, but occasionally, if my schedule is particularly busy I will have to prioritize replies based on who’s needed most. In those cases, I will make sure I do at least one reply per character that week. I am almost always online if anyone needs me ooc. I’m a student, so occasionally if I have some crazy amount of assignments I may have to take a short hiatus.

Time zone: Eastern

Anything else you want us to know?:

iM SO HYPE

—

Character’s superhero/villain name: Speedy, may change in the future

Character’s civilian name: Roy Harper

Alignment: Superhero. He can walk the line of antihero if pushed hard enough.

Affiliated with: Formerly Titans East. Speedy now considers himself to have ‘graduated’ the Titans, and has pursued a more solo career.

Age: 18, almost 19

Physical characteristics: Speedy is tall, with a slew of red hair carefully styled on his head, which he heavily prides himself in. He’s rather fit, with muscles particularly evident in his arms due to being a skilled archer. He’s known for his condescending smirk, and chiseled jaw.

Personality traits: Roy is, well, a bit of an asshole, but he generally means well. He fights for what is right, on a broad scale (he’ll happily take down criminals, for example), but his remarks can border on offensive (or sexist), and he’s not always the brightest. He usually doesn’t mean to, but his words can unknowingly cause harm. It may take a bit of correcting from his friends for him to change his bad habits. He is a bit selfish, and tends to think highly of himself. Roy is in the process of finding himself, and is not always as upbeat as he once was. He can be hot-headed, rather stubborn, and moody at times. He also can be immature, although he would never consider himself as such.

Having reached adulthood, he thinks he is much more mature than any of the Titans who are still ‘children’ (he even thinks he is more of an adult than the Titans that are his age). He likes to poke fun at his friends, and often has a witty or sarcastic zinger ready. He however, does not always take criticism in return too well. He also likes to make jokes, usually at the expense of others. Roy is a big flirt, and always has his eyes out for beautiful women (and the occasional guy). In that department, he does not always respect women as much as he ought to, and this gets him into trouble.

Special abilities: Speedy is an excellent archer that can easily hit most targets. In addition, he is fairly tech-savy, and has designed a multitude of trick-arrows. And does either beautiful hair or seduction skills count?

Character history:

Roy Harper’s father was a ranger in a forest that bordered Navajo reservation lands and was killed in a forest fire, leaving 3 year old Roy orphaned. A medicine man of the name Brave Bow took Roy in after the young boy wandered onto the reservation lands. Brave Bow trained Roy to be a superb archer and was Roy’s caretaker until his death 5 years later. Then, Roy was adopted by Oliver Queen and became the Green Arrow’s sidekick under the name Speedy. At age 13, Roy helped found the original Teen Titans with Dick, Wally, Garth, and Donna, but they were too young to lead their own team and it disbanded fairly quickly.

For a while, he returned to his role of Green Arrow’s sidekick until Roy decided to part ways with his mentor to become a solo hero (not unlike a few other teen superheroes at that time). Teen Titans East was later formed with Speedy as a core member when he was 16. Speedy remained a member of the team for over 2 years, but towards the end began continuously clashing with Bumblebee, the team’s leader.

Roy had different ideas for the team, and being told what to do frustrated him; it reminded him of his times as Green Arrow’s sidekick. Speedy not only had disagreements with Bumblebee, but he started to feel that the Titans were child’s play compared to other super heroes, and decided to become a solo-hero not associated from the Titans. He has turned in his communicator, but in the age of technology he can usually be contacted if needed. He remains in close touch with Aqualad, and Robin particularly. He has had some interactions with the Justice League, but they are not interested in adding him to their team. Roy now pursues criminals on his own, but sometimes assists the Titans if he’s around or needed. He has also contacted the Titans on occasion for assistance with a mission.

He goes wherever the wind takes him, and has currently found himself in Jump City. While obviously this is an area with Titans, Roy had noticed an increased amount of crime in the city and has come to help out. Roy additionally feels more comfortable with interacting with Titans West than his own former team of Titans East, and often visits the Tower. He is especially fond of some of the newer inhabitants of the Tower, which has been an extra incentive for visiting.

Place of residence: A little bit of everywhere, but right now Jump City. Lately can often be found bumming on the couch at Titans West Tower.

Other:

In-character writing sample :

Roy rolled his eyes under his mask at the villains remarks, and responded to him by launching an explosive trick-arrow at the man. Roy was becoming particularly irritated now, and wanted to put an end to this exchange. It seemed like villains these days were coming up with even worse one-liners than ever before. Sometimes, Speedy didn’t mind a bit of a playful back-and-forth with a criminal (especially if they were a pretty lady), but there had to be decent enough material to actually work with. And the evil-doers in Jump just weren’t up to the comedic standards that Roy was used to. It was just another thing that made Roy feel like he didn’t quite belong on the West Coast.

The man laughed; the plain-looking arrow had hit a few feet to the right of him, and he evidently assumed that Speedy had missed. 3… 2… 1… The small explosion hit, knocking the masked man over, and now Roy was the one chuckling. Being a newer face in town, many of the local goons genuinely did not understand that there was more than meets the eye with his arrows.

The villain coughed from the smoke, and shot his own weapon at Speedy. Roy quickly dodged, but he felt a breeze ruffle his hair.

“Hey, watch it!” he accused as he flung an ice-arrow at the man. The criminal tried to scurry away, but the arrow almost immediately caused ice to travel up his body, quite literally freezing him in his place. “That’s what happens to people who fuck with my hair. You’re headed to jail now, bud.”