#anyway the second panel is from bruce's First Ever Origin so that's how old this characterization is

[forevercloudnine]

Bruce Wayne’s training as a (mad) scientist: Secret Origins (1986) #6, Detective Comics (1937) #32, Detective Comics (2016) #998

#bruce wayne #silas stone #i did love that the mythology storyline tomasi did highlighted bruce's science training... very cute return to form #i feel like that gets left to the wayside a lot in modern comics because bruce has to be The Bestest Martial Artist Ever #because eventually he became a ninja instead of. like. charles atlas #so really there's no time in his backstory for a university education #and in fact in the current continuity did not even finish high school #which! don't get me wrong. i love bruce being a high school dropout. i think that's fun #but he does so much reverse engineering mad science to deal with his villains #that he NEEDS to have a background in it from his training days #anyway the second panel is from bruce's First Ever Origin so that's how old this characterization is #weird to think about how he existed as a character for several issues before bob kane figured out an origin for him

[stxleslyds]

ROBIN #5 BUT IT’S JUST ME TALKING ABOUT JASON.

Hey, how are you guys doing? I wasn’t going to review this issue and I won’t because this isn’t really a review, this is just me talking about Jason’s involvement in this story.

I mentioned in a previous reblog (as well as in a old post) that I am not a fan of Joshua Williamson’s way of writing Jason. I think that he, like Lobdell, thinks of Jason in a way that doesn’t really match Jason’s origin (UtRH, Lost Days) or his current stories (RHatO, RHO, and other brief appearances), I think that Williamson is writing this sort of mesh between fanon Jason and a self-indulgent Jason that results in a very... bland and kinda repetitive version of Jason.

I have also talked about my dislike of his writing from a “romance” perspective. I absolutely didn’t like how he wrote the supposed “relationship” that Jason had with Rose in Future State: Red Hood. It honestly left a very nasty taste in my mouth after I read those issues and I just didn’t see their chemistry, to be honest, while I was reading those issues I felt like Williamson was writing an “unrequited love” thing between both of them (Jason being in love and Rose not at all).

That is of course my opinion. I know that many people like this relationship and I respect that but just as a heads up, I am not a fan of Jason being involved in any sort of romantic relationship with anyone. It’s just something that I would rather not see in a Red Hood story and that’s just the way I see it (once again, you are welcome to think otherwise).

Now, after I have said all that (which I believe is necessary because I like to tell you guys my general stances on Jason related stuff), I can begin my “review” of Jason’s appearances in this issue. 

Let’s begin!

Rose calling Jason to tell him about Damian.

Yeah, I find this weird. Since when are Jason and Rose talking? Here is where I am lost because I think that I am missing some information. 

This Jason right here is supposed to be the Jason that was at the end of Urban Legends #6, right? The last time that I remember Jason interaction with Rose was back in RHatO vol.1 #40, I know that Rose had a “relationship” with Jason in DCeased and in Future State (Red Hood and Gotham) but here is the thing, DCeased is a story that doesn’t belong to this or any continuities so it doesn’t count and Future State is set in the future, and a future that might never happen at that. So, where is this “Jason and Rose being in contact” thing coming from? If anyone knows, please let me know. 

Anyway, I just think that Rose contacting Dick would have made more sense but I guess I am missing some context here but hey, I am here to also learn.

The other thing I would like to talk about these panels is Jason not wanting Damian to be involved in a dangerous “death tournament”. Oh, well colour me not surprised at all by that fact, than you so much. 

Who would have thought that Jason would have a problem with a child being involved in a dangerous situation (me, that’s who), I guess that this is confirmation of DC not reading their own material because in one book Jason’s helping a kid “kill” the Joker and here Jason is like “WHY DID YOU JOIN A DEATH TOURNAMENT DAMIAN!?” (did ya put your name in the goblet of fire?!?! said Dumbledore calmly). I guess this Omniverse thing that DC has going on is helpful when you want to blame inconsistencies on something other than poor management on DC’s part. 

I just think that it’s funny. And also right on the line of OOC and in character for Jason, because I can actually see Jason being worried if a kid is joining that sort of thing, but I also don’t see Jason caring much about what Damian does or doesn’t. 

“If I can come home, so can you”

Good lord, I am not having a good time. I hate this. If this is your first time coming across one of my post, Hi! My name is Tati and I absolutely hate the fact that the fanon concept of “Batfamily” is being integrated in actual comics canon. 

This is so bad, what the hell is Jason saying? This man knows nothing about Damian’s situation, why would Jason not think that Damian has his own reasons not to go back “home”??? 

And what the HELL is Jason calling “home”, is he calling Batman or the Batfamily “home”??? Child, are you on crack? Honest question, because Bruce has done nothing for you, he has done awful things to you and he really doesn’t like you. 

Let’s be honest for a second, Bruce hates what Jason has become ever since he came back from the dead, Bruce hates the fact that Jason has a different way of seeing things. He only tolerates Jason when he can molde him the way that he wants. 

I mean, what the hell is this, why would Jason, after the events of Batman and Robin (2011) #20, RHatO (2016) #25 and even Urban Legends #6, want to go back to Bruce or any of his bullshit? Why? How many times does DC have to prove itself that Jason and Bruce don’t work well together anymore? How long until they realise that Jason doesn’t fit in their Bat-narrative? 

I am so tired of this, I swear, when will this end?

Jason and Damian have a chat.

I don’t mean to be repetitive but, what the hell is this? 

First of all, here we are again with writers wanting to encapsulate every Robin’s whole being in one word, don’t they get tired of being this basic? Dick is experienced, Tim is smart... how dull do you have to be? I this was your attempt at having Damian waste time then you could have had him say something more creative. 

“You are the most emotional”, what does that mean? I mean, i guess it’s true but how is that relevant here, or why would that catch Jason off guard? Is it because fanon Jason is the epitome of “bad boy with a heart of gold” or...?

Also, Jason returning the hug after such a wild conversation has me wondering what the hell is going on, weren’t these two fighting the last time they saw each other? Why didn’t Jason realise that Damian hugging him is off?

Jason is a dumbass.  

Well, he isn’t, Jason Nation knows that but he has been written as if he were a dumbass. How did Jason not see that Damian had ulterior motives when he “hugged” him? Jason, my love, you guys fought the last time you saw each other and because the Omniverse is a thing, you also tried to kill Damian...

Why wouldn’t you think that Damian going for a hug was actually a trap? Are you being written as an unintelligent human being again to make another character look good when you are easily defeated? Is that it? 

Yeah, that’s it. 

I don’t know what else I can say about this panel, like come on, give Jason a little credit, we swear he is smart DC! 

Don’t try to play games with Dick, Jason. 

Dick was having none of it! What was he thinking? Jason got his ass tasered and now he is like “Dick why would you let Damian play games with you?”. Why do people write Jason this way? Why is he the dumbass/comic relief nowadays? Is this why he was dragged back to the Bat? So he can be the dumb one with snarky remarks? 

How boring.

-

Listen, I think that this issue was good when it came to Dick and Damian’s moments, they are the ones that have more history together, they respect and love each other enormously. Their interaction were really good, very enjoyable. My problem with this issue was obviously Jason’s presence and the part that they let him play. After reading this, I know that I was right when I thought that Jason shouldn’t have been put here. It doesn’t make sense and it does nothing for Jason’s characterization. 

So yeah, those are my thoughts on this, as always, you are welcome to think differently! 

#jason todd #dick grayson #damian wayne #red hood #nightwing #robin #robin 5 #tuesday spoilers #dc comics

[soyouareandrewdobson]

Charles Schulz vs Andrew Dobson: What a Blockhead!

There are certain things about Dobson’s behavior and particularly his approach at being a nerd and presenting himself as someone who enjoys the art of storytelling that I have issues with. Issues I want to tackle on in more detail within later entries quite a bit.

One such tendency is, that he mocks directly or indirectly the work and accomplishments of others.

See, if Dobson doesn’t like you as a content creator because he does not like something you work on, he will try to show it. He will make stupid assumptions of you (like how he accused Kojima of being a sexist creep because of Quiet and how he deals with “male gaze” in MGS compared to Death Stranding), half heartedly mock you (look at anything he makes about Ethan Van Sciver) or he will call a piece of work boring and dull based on a minor element instead of overarching problems (calling Batman the character a white supremacist based on the dumb work of only one author).

By doing that he also tries indirectly to insinuate that he is better in some manner, though most of the time it really just shows his own ego and that his pet peeves are rather petty compared to the overall quality of the work he criticizes as well as its flaws.

One such sight of ego boosting while mocking the work of his better is in my opinion to be found in this comic he uploaded sometimes around 2016/17 randomly online.

This comic in my opinion is both laughable and insulting. Why? I will explain soon.

First however I want to clarify that I get that this comic is supposed to be a joke mostly. The old “What others expect, what I expect” thing, where the punchline is supposed to be the discrepancy between the two fractions and what they expect, mostly by making one of the expectations come off as worse than the other. However, I find the punchline to be Charlie Brown (and as such what Dobson seems to see as something he does not want to be favorable compared too) quite insulting. Why, as I said, will be elaborated on sooner.

First, let me just get on the part I find laughable: The fact that Dobson in his own head seems to believe he can be even remotely compared to people like Paul Dinni, Bruce Timm, Greg Weismann, Justin Roiland, Miyazaki, Shigeru Miyamoto and all the other character creators and animators whose creations we see in the first panel.

 Dobson, don’t make me laugh. Putting aside the fact that those people are animators more than cartoonists, what makes you even believe in your wildest dreams you are on the same level as them? The fact you too are an animator, seeing how you graduated from an art school with a degree in that field? I have seen your contributions to the field and honestly, I would expect a bit more. https://www.youtube.com/watch?v=v0tdWNCrIxo

 https://www.youtube.com/watch?v=Ps6PfiUCxHQ

 https://www.youtube.com/watch?v=4PyonOqClf8

 I give you credit, you can animate. Which is more than I can say for myself when it comes to the arts. But when you look what other freelance animators can do online, some of them younger than you and NOT with a degree in animation…

  https://www.youtube.com/watch?time_continue=64&v=FmkAcGz1BJk&feature=emb_title

https://www.youtube.com/watch?v=97IfPfjSaDg

 https://www.youtube.com/watch?v=eEUoxQ4qSfs

 Viviepop’s demo reels alone are just gorgeous to look at and more fluid than what I have seen of you. https://www.youtube.com/watch?v=gFlha-KOKCc

 And it is not just the technical quality, Dobson. It is also just the overall “originality” of your work. Cause this is the thing with those animators hinted on in the first pic and even many, many freelancers/fanartists as well as webcomic creators online: They have a spark of originality in presentation and storytelling that you lack. I will one day go more into detail for that, but here is the most brutal thing I can say at the moment: I know shitty porn fanfictions, that have more plot development and character growth than all of Alex ze Pirate.

Your characters and stories tend to be derivative and you barely take any risks in telling a story. Neither in your fanbased work (like the Miraculous comics) nor your original content (mostly because you take comfort in four panel strips anyway)  and when you have an idea for something on which the basis idea actually sounds good, you screw it up by a lackluster execution. One example I want to give for that, would be this fanart of yours in regard to Steven Universe.  

(I apologize for not getting one in better quality) This pic was something Dobson created around 2015 for Steven Universe. The picture is supposed to show Lapis, trapped under the ocean following the events of the season 1 finale of the show. A very emotional situation if you are aware of why Lapis sacrificed herself and was “banned” to the ocean floor. Short explanation: Fused with Jasper and then took primarily control of the fused being they became (Malachite) by using her water powers to bond it with heavy water chains on the ocean floor, so that Jasper would not hurt Steven anymore.

 How much of that was even an emotional strain on her and her psyche was in one episode of season 2 even a theme, as seen here.

 https://www.youtube.com/watch?v=SK3l8mGNhMg

 I am not even a fan of the show and I get the emotional weight and impact of Lapis actions.

So… why is that not conveyed in the artwork? If you are so talented Dobson, why is none of the strain and despair on the character? The idea of a pic showing Lapis under water, longingly looking up, even in despair is a good basis for a fanart. But the execution lacks any emotional detail. You want to know how I would execute the thing if I had the artistic talent? Make the picture a huge horizontal pic, where we slowly decent from water surface down the ocean. The light getting dimmer. Blue turning into dark. The silhouette of a hand and an arm similar to Malachite’s in the background, trying to travel up, the fingertips barely touching the surface. Heavy chains around the flesh. Symbolic of the fusion trying to break free and cause havoc. And down on the dark bottom, beaten and exhausted Lapis with tears in her eyes and chains all over her body like she is Jacob Marley, desperately trying to keep Malachite at bay for the sake of the only being on earth who ever showed just a little bit of kindness towards her.

 Why can’t we have something like this here, Dobson? If you were even remotely as original as the creators you want to be compared with, I think you could come up with something like that and perhaps even draw it.

But you know, his delusions of being as good as them is one thing. It is even funny.

Pissing over the Peanuts is another. Dobson, what are you trying to hint at?

That people comparing you to Charles Schulz and his creation is in your eyes automatically a sort of insult? That it is something that should at best only be a mockable punchline in a comparison?

Just to clarify a few things: I am NOT much of a fan of Charlie Brown and the Peanuts as a property. As a child, I was just not very entertained by them. Yes, I saw animated movies, episodes and specials of them here and there and my grandparents gave me volumes of them to read, but as a whole I never thought them quite as entertaining than other comics or cartoons I watched. Some parts of Peanuts animation felt to me often times like just dead air (especially parts of Snooby dancing with Woodstuck, as they had no function to move the plots forward) and I really could not stand how some characters treat Charles on a regular basis. I mean, we all agree that Lucy is one of the worst female characters in fiction and that even while we hate Family Guy, this clip likely gave some of us some sort of satisfaction, right?

 https://www.youtube.com/watch?v=mZkJAx8FycI

 But before the Peanuts fan out there go and want my head on a silver platter, let me make one thing clear: I may not like the Peanuts franchise… but I respect it and the man behind it.

 Charles Schulz drew the comic strip from October 1950 till late 1999 (the final strip being finished months before it would be published on February 13 of 2000, one day after he died of colon cancer) , creating a total amount of 17,897 Peanuts’ strips. His work marks a major impact in the nature of newspaper comic strips and inspired many people out there, including Bill Watterson, to create comics or be in the field of animation. His achievements include among other things, that he created what many people consider the first animated Christmas special ever. The names of his creations became nicknames for the Apollo 10 command module and its’ lunar modul. Four of the five Peanuts movies in existence (animated made for tv specials not withstanding now) were written by him. And the fifth was only not by him, because that one came out in 2015, a decade and a half after he died.

And speaking of things Schulz wrote for the Peanuts, let me mention two things. Two things that though I am not a fan of the Peanuts, I have mad respect for existing in the realm of animation. Two animated specials that stuck with me ever since I was eight.

 “What have we learnt, Charlie Brown?” from 1983 and “Why, Charlie Brown, Why?” from 1990.

 In the first special, which functions as a semi sequel to the fourth Peanuts’ movie “Bon Voyage, Charlie Brown”, the characters actually travel across France and after ending up on Omaha Beach and Ypres the special turns into a tribute to the soldiers who fought in World War 1 and 2, elaborating on the sacrifices made during the war by showing actual footage of fights, recordings of Eisenhower and reciting the poem “In Flanders Fields” among other things. Do you know how impactful it is to learn about the world wars as a small kid, by being reminded of the actual sacrifices others made in order for your own grandparents to survive?

 And speaking of grandparents, I lost my grandmother as a child by cancer. So when I saw the second special I mentioned, you can bet it stuck with me. After all, of all the things in the world, the Peanuts addressing the seriousness of cancer by having a story where a friend of Linus is diagnosed with leukemia and we follow the emotional impact it has on Linus and the girl? Again, I may not like the franchise, but I am not ashamed to admit I think the special treats the subject with a lot of respect and dignity while telling a good story. You bet your ass I get a bit teary eyed when the little girl survives her leukemia treatment and finally gets on that swing again. Those two specials alone are more mature than ¾ of the shit Dobson likes to gosh about, including his oh so precious gay space rocks. And just for those things existing I have respect for Schulz, his creation and the impact it had on so many people. As such, Dobson “belittling” the Peanuts, at least for me, is a freaking insult. The only way Dobson could have been even more insulting is if he called Schulz something derogative.  Dobson should be glad if his life’s work in total could even amount to 10% of what Schulz has done and achieved.

 Cause Dobson, you are NOT a Charles Schulz. Schulz served during the second world war on the front, fighting actual Nazis instead of calling idiots on the internet fascists for not liking Star Wars. He had integrity and work ethics that drove him to draw and write over 17.000 strips, while you can not even finish one FREAKING story. He knew how to tackle a mature subject, while you make shitty shipping jokes involving Ladybug and Cat Noir and claim Steven Universe knows how to be about psychological trauma, when it just romanticizes abuse. He may have drawn simplistically, but at least he could tell a joke instead of constantly berating others for not sharing his opinion. He did all of that and more without having graduated from college.

 And what have you done, Andrew Dobson?

If Dobson reads this, there is one thing in my opinion he should take away from more than anything else: That if people compare him to Charles Schulz’s work, that it means a) he should not be ashamed of it and b) they overestimate him.

#adobsonartworks #andrew dobson #so you are a cartoonist #syac #sjw #peanuts #charles chulz #charlie brown #snoopy #fuck you #animation #steven universe #disney #cartoons #cartoonist #adobsonartwork

[northoftheroad]

The Wayne family

Sometimes, when I read Batman fanfiction, I wonder whether the writer has been reading the same comic books as I have. Because they paint a picture of a big, happy Wayne family where the kids are very close and sometimes the whole bunch even live together. 

Now, I do know the difference between canon and fanfic. And I get that wishful thinking and selective reading plays a big part. But still, I'm curious where these conceptions come from.

Just to be clear. I do think of Bruces adopted/foster children as a family because they have a common father(figure). But they have not grown up together. It depends on what DC continuity you're playing with, of course, but most of them are in their teens when Bruce Wayne comes into their lives and they can’t have lived more than a few years with him. Several of them have not lived together. So even if I let my imagination run amok, I can't see them living at the Manor together as a tight-knit family, and I don't think all of them know each other very well.

Batman and Robin vol 2 # 10. By Peter Tomasi, art Patrick Gleason and Mick Gray.

Dick Grayson had moved out (or been kicked out, depending on what version you go with) when Jason Todd came along (and Bruce suffered from empty nest syndrome). Jason was dead when Tim Drake came into the picture, and Tim lived with his parents or boarding school in the beginning. Even if Dick kept in pretty close contact with Tim, he had a permanent home elsewhere.

Batman: Gotham Knights # 45. By Scott Beatty, art Roger Robinson and John Floyd. 

I admit I haven't read a lot with Cassandra Cain. As far as I understand, after Flashpoint she has never lived in the Manor. Before Flashpoint, she was adopted, but I don’t believe she lived long in the Manor, and the only other Wayne adoptee she can have shared the home with is Tim. 

Edit: At least, Bruce probably did have time to adopt Cass, even though he promised to do it in Batman: Redemption Road (2008), just before the story arc Batman RIP where he, presumedly, died. They certainly did not live together as a family for long. 

Batgirl: Redemption Road # 6. By Adam Beechen, art Jim Calafiore and Jack Purcell.

I’m sure there are cute panels of Tim and Cass out there, but I’m picking some from comics I know of.

Batgirl # 50. By Dylan Horrocks, art Rick Leonardi and Jesse Delperdang.

Batman: Family # 7. By John Francis Moore, art Steve Lieber and Stefano Gaudiano.

Tim was an older teenager when Damian al Ghul/Wayne dropped into the house and immediately tried to get rid of Tim the hard way, and I don’t think they spent a long time under the same roof until Bruce "died", and soon after Tim left (at least partially). 

Batman # 657. By Grant Morrison, art Andy Kubert and Jesse Delperdang.

Dick moved in with Damian and raised him (for about a year). When Bruce first came back he travelled with Batman Inc, and Dick and Damian continued to live together. There were times when you could find Bruce, Dick, Tim, Damian and Alfred in the Manor at the same time, but not living permanently together. 

Batman & Robin vol 1 # 20. By Peter J. Tomasi, art Patrick Gleason and Mick Gray.

Now, Flashpoint, New 52 and Rebirth makes it even more impossible to puzzle together a credible timeline for everything Bruce Wayne is supposed to have done and everyone's relationship with each other. We’ll end up with Jason being Robin for about a month... But, anyway...

At the start of New 52, Dick has gone back to Nightwing and moved into his own flat in Gotham. He’ll continue to move around in different cities so he’s clearly not living with any other Wayne. By then, Cassandra is retconned out of the family and I haven’t seen any sign that Jason lives at the Manor with Bruce and Damian (and I don’t know about Tim either).

Fast forward into Rebirth, and Duke Thomas stayed and trained with Bruce for a while. If any of the other kids lived there at the same time is anybody's guess, but you can see the whole Bat-family (including, for instance, Stephanie Brown and Luke Fox) share a happy meal in the Manor, so at least they socialize from time to time. I’ve read somewhere that Duke since has moved in with relatives.

In canon right now, as far as I can make out, the only one who (at least sometimes and varying between the books) lives with Bruce and Alfred in the Manor is Damian. 

Another fanon exaggeration on the opposite part of the scale, in my opinion, is the penchant for portraying Dick and Jason's relationship as extremely bad from the start.

There are three different versions of how they met before Flashpoint. The first time, when Jason was a circus-boy Dick clone, Dick originally wanted to take him in, but Bruce stepped in instead (DC needed a new Robin for Batman, after all). The second time, Bruce had fired Dick from Robin because he was shot by the Joker and then promptly picked up Jason, after Dick had left. The third time (Nightwing Year One), Bruce fired Dick and kicked him out (I tend to ignore this version mostly, to be honest, because Bruce is ridiculously much of an ass here) and then, as you know, took in Jason.

And it's not that Dick loves Jason straight away, or the fact Bruce took in a new Robin by the blink of an eye, in the two later versions. But he still gives Jason his old Robin suit and his phone number in version two and in version three, they part on decent terms, and Dick tells Bruce (by recording) that he could have done worse.

After that, they hardly meet before Jason is killed because Dick is working with the Titans and doesn't live in Gotham. Pre-Crisis on Infinite Earths Jason helped the New Teen Titans a few issues (Dick was busy getting in the hands of Brother Blood and being brainwashed, at the time) in New Teen Titans vol 2 # 20–31. And there is a snapshot of Dick and Jason hanging out as civilians in Nightwing vol 2 issue 63. That's about it. 

Nightwing vol 2 # 63. By Chuck Dixon, art Trevor McCarthy and Karl Kesel. 

Then, of course, Jason came back from the dead slightly unhinged (2005). I don't know the whole picture of meetings or confrontations between the Bat-kids between Jason's comeback and Flashpoint (2011). I do know he dressed up as Nightwing and killed people in Nightwing vol 2 # 118–122. When Jason was abducted, Dick struggled a bit with the question "Is it ethical for me to save someone who's a danger to society?" before he went to save Jason. In the end, Jason sends a telegram where he says "Thanks for coming for me, brother. I know we don't agree on much. I just wanted to believe we could be family again." Tim and Dick also had a confrontation with Jason in Teen Titans (2003) # 47, and Dick and Jason had a not very amicable meeting in the Outsiders v 3 # 44.

Nightwing vol 2 # 118 –122. By Bruce Jones, art Joe Dodd, Paco Diaz, BIT and Nathan Massengill. 

And then we have Battle for the Cowl, where Jason shot Damian, left Tim for dead and tried to kill Dick after he had refused to become Robin to Jason's Batman. (I guess there are Jason fans out there who think that Dick was not justified to put Jason in jail after that. Obviously, I'm not one of them, but if anyone dislikes these years in canon and decides to ignore it to the best if their ability, who am I to judge?)

So, the Wayne boys definitely had a partly antagonistic, partly close, partly distant relationship. After Flashpoint, I think it has in been portrayed as better. At least, I haven't seen them try to kill each other...  Tim calls Damian "gremlin", Jason is Damian's secret mentor (or so I've seen somewhere), they sometimes meet on the rooftops and work together. On the other hand, the previously close relationship between Dick and Tim seems pretty much forgotten. (Let's hope they start remembering that soon again.)

Detective Comics # 975. By James Tynion IV, art Raul Fernandez and Alvaro Martinez.

Somewhere in Batman and Robin Eternal, Jason says that Tim is the only of the other Robins that he likes. (I honestly don't know where that came from, I never noticed them seeing eye to eye before. Still, it's not like I've read every Bat comic ever printed. But then, I rather believe the same goes for a number of DC writers... Edit: I’ve been informed that it’s probably from a flashback in an issue of Red Hood and the Outlaws.) In RH and the outlaws annual 1 (I think that’s the only issue of that series I’ve read, to be honest), Jason narrates that there was a time when he would have killed Dick on sight. "Not my proudest moment. We've made up since then." They have a complicated relationship, but they are still somehow clearly brothers, and Jason thinks back to when he saw the Flying Graysons perform and how Dick was a hero to him then (another retcon after Flashpoint).  As far as I know, it's the only post-Flashpoint retelling of how Jason and Dick met, and the story is that Alfred puts Jason in Dick's room so he wouldn't have to clean a new one. Dick is not happy to find someone in his bed when he comes home to visit. They fight. Honestly, I can't imagine Alfred doing that, so that's one version of the canon I’m happy to overlook...

On the other hand, we have Jason and Dick hanging out on the rooftops in Blüdhaven in Nightwing vol 4 # 15, and Dick, Jason and Damian certainly bicker like siblings (together with Duke) in Batman vol 3 # 16 and # 33.

Nightwing vol 4 # 15. By Tim Seeley, art Minkyu Jung. 

Batman vol 3 # 16. By Tom King, art David Finch. 

On the whole, I think the only thing you can be sure of about the relationships between the Wayne family members these days is that it varies quite a bit between titles and writers and has had its ups and downs over the years. But that they have never lived together as one big, happy family.

Of course, all this is based on the comic books I’ve read, and there might very well be stories out there that paint a different picture. But on the whole, I’m pretty confident that this panel is about as close to a happy family gathering we’ve seen. And then it’s not only the Waynes but the Bat family.

Batman and the Signal. By Scott Snyder and Tony Patrick, art Cully Hamner.

#Batman #Robin #Nightwing #Bruce Wayne #Dick Grayson #Jason Todd #Tim Drake #Damian Wayne #Cassandra Cain

[thegeekerynj]

An Occasional Attempt to Read, Discuss and Review the Wonders of Comics By: John Rafferty, cranky old man, and Fan of All Things Comics

Dark Nights: Death Metal #1

Writer: Scott Snyder Artist: Greg Capullo

‘Hex, they’re all yours.

Yeehaw, sir.

Finally, a party where I’m the @#$% pretty one.’

Gentle Readers, I have been totally blown away.

I have been trying to write this for a week, now. I have given this book to several people to read. The least comment I’ve received back is:

‘WOW. Holy Crap! Damn!’

Yes, I heard the capitalization. I saw the sense of wonder, shock, insane glee in the person’s eyes. I watched as he sat down again, and reread it, asked if the Comic Shop was open so he could go buy his own copy... then said lots of words I would get smacked for putting in here.

In short, the duo of Snyder and Capullo are on fire...again. And they know it, by the names they gave themselves... Scott ‘Hallowed Be Thy Name’ Snyder, and Greg ‘Painkiller’ Capullo. And these bastiches do live up to them! (heh...heh heh)

So, we start off with Sergeant Rock ( yes, Easy Company’s Sergeant), explaining the situation ‘ta this flyboy’. And he does this, in the colorful, typically melodramatic style of Jack Webb, in ‘The D.I’, or R. Lee Ermey in ‘Full Metal Jacket’ giving the ‘flyboy’ the rundown on then tire meal of ‘turdburger and turd fries’ being served up in the new DCU...

Yes, the Next Page, the Second Page is a map labeled ‘the DCU’... complete with the Arkham Wastelands, the Fall of Captain Atom (can be taken two ways, hopefully this will be explained), Themyscira, Megapokolips, The Hellscape, and Castle Bat...

This is the map of the area around the Castle Bat, home to the Batman Who Laughs, and his minions, the various corruptions of the Bat, and the Groblins. And so much more...

This is the End of All Things, the Dark Matter Universe has permeated everything, and the Corruption Abides. The Green is poisoned, as is seen by the condition of the Protector of the Green, Swamp Thing. He is a walking putrefaction, more a rot thing than the robust Emissary of Parliament of Trees he had been.

Diana of Themyscira is reduced to gaoler for the Master, overseeing his dungeons, and the Pit, which he reserves for his special ‘interests’. Her mother and sisters, used as the method to keep her from tearing the Castle from the heights it reaches, and pounding it flat into the foundations, far below, in the bowels of Themyscira, where we find the gates to Tartarus, the new prison for the Batman who Laughs.

We open on Diana, wielding a chainsaw, taking apart her iconic Invisible Plane, and melting it down into Invisible metal. More punishment, more humiliation.

She receives news of a new prisoner for the Pit, from the corrupted Guardian of the Green, Alec Holland. The Prisoner is being escorted by 3 Bats (the Red Death, a Bat that is the Tyrannosaur robot with Bruce Wayne’s mind uploaded into it, and a BatMage), an unheard of number, so this must be a formidable prisoner indeed.

As they proceed toward the Pit, the reader is updated somewhat with the ongoings since Metal...

What, there are some reading this that never read Dark Night: Metal? Ok, show of hands, how many... one, two,...seven... nineteen... well. I’m going to stop here. Go on, go get a copy of the collected Metal. And the crossovers. And the One Shots. NOW! I’ll wait (have to use the Men’s Room, anyway...)

Done? Good. Hey, YOU! Finish up! Damn... Ok.

So, where were we... Oh, yes, Castle Bat. the Check-in, Harley is in charge of hunting the Wastelands, with a Bat controlled Dr. Arkham, Wonder Woman, well, she basically runs Hell with a Batmage, who could be a Dark Multiverse Bat Zatara (I originally thought Fate, but, no Helmet of Fate), Aquaman and Bat-Bathomet (a Cthulhu looking Elder demon), and Megapokolips is presided over by a manacled, and subdued Scott Free, with his overseer, DarkFather, who bears an unkind resemblance to Darkseid’s son, Kalibak.

And, we can see Free and the DarkFather are monitoring an Anti-Life infected Superman, waiting for his change into a controlled Darkseid.

Holy Crap, that’s 8 1/2 pages in... and the action hasn’t started!

We’re introduced to all the Bat-Knights - The Bat-Etrigan, the Bat-Clayface, Bat-Deathstroke, Bat-Reaper, the Bat-Plastic Ma... Plastic Man??? Along with the Drowned, the Red Death, the Dawnbreaker, the Devastator, the Murder Machine and the Merciless, and some more interesting mashes... A Bat-cowl wearing Penguin, Jokerized dragons (words I never thought I would ever write, after once writing Joker fish - Thanks Steve Englehart and Marshall Rogers!), and the return of the Black Lantern Ring... WHAAAAAA???? OMFG!!??!!

Again, we aren’t halfway through the issue.

Snyder and Capullo have set a standard so incredibly high, it will be absolutely amazing if they can maintain the pace and intensity of this 32 page issue. Snyder’s dialogue is measured, direct, with not a wasted syllable, much less word. His script is extraordinary, well done, descriptive, amazingly vivid.

Capullo’s pencils, Dear Jeebus, this man’s pencils bring Snyder’s word to life, or as close to life as the Dark Multiverse will allow. He brings an intensity to the work which drives the reader forward, pushing onward from panel to panel, barely allowing the reader to recover from the

last surprise before gobsmacking him with the next graphically intense page.This is a meal, each panel to be savored as a tapas course, building on the flavors of the last visual mouthful, until the reader is so overwhelmed, he is unaware he has finished the meal, is full, but wants to go back to the first course and start all over again.

Gentle Readers, please understand, on a book such as this, I am a horrid reviewer. I have no filter, no concept of Spoiler Alerts, and no care for posting the alert. I WANT to share all the action, all the nuance, and little points that make this story amazing.

I also want, more than this, for you, the Reader, to go out and read this book on your own. That is more important, for it is YOU, the reader who will ultimately make the determination whether this reviewer is credible, or as full of crap as a Christmas Goose.

So, if you do nothing else, take the time to visit your local Purveyors of Four Color Sequential Periodicals, and slap down the $5 necessary to purchase this book. Give me the benefit of the doubt.

I promise you, there is no disappointment here.

Out of 5 🌶 🌶🌶🌶🌶🌶

#comic books #comics #dc comics #dark nights: death metal #dark nights metal #scott snyder #greg capullo

[jedimaesteryoda]

Batman: Mask of the Phantasm

I am going to talk about my favorite Batman film of all time, and some have even argued it to be the best Batman film out there. This Batman movie showed what many DC fans agree to be the best Joker and one of the best Batman performances. It has an excellent story that draws the viewer in, and a great film score courtesy of Shirley Walker. No, I am not talking about Nolan’s The Dark Knight, or even Tim Burton’s Batman, as great as those films were. I am talking about Batman: Mask of the Phantasm. It’s a direct-to-video film based on Batman: the Animated Series, the first show of the DC Animated Universe that to this day is acclaimed by critics and fans alike. It came out the same year as Schumacher’s Batman Forever, yet didn’t get as much attention due to not just being overshadowed by the live-action film, but lack of advertising on the part of Warner Bros. Of course, a number of critics agree that between the two films, Batman: Mask of the Phantasm was arguably the superior film. Bat nipples aside, what made the Mask of the Phantasm superior to Forever in some ways was the story, the love interest and of course, the way Batman was portrayed.  

WARNING SPOILERS AHEAD: 

If you haven’t seen it yet, I advise you see it first before you read this essay. If you choose to read ahead anyway, and don’t plan on seeing the film then that’s a shame. Seriously, just watch the film, and I guarantee you won’t be disappointed. 

Plot

A shadowy figure appears going around murdering mob: the Phantasm. Batman is mistaken as the culprit, and is trying to figure out who this mysterious figure is, and the connection to the murders. The Phantasm isn’t the only arrival, so is Andrea Beaumont, an old flame from Bruce’s past. We get to see glimpses of their relationship in flashbacks, and learn that Bruce once had a chance at a normal life. And of course, it wouldn’t be a classic Batman film without the Joker, who is also drawn into the story in a way that works.

One thing you will notice about the plot that separates it from most Batman films and every live-action film is that it is a detective story. We never get to see him solve a mystery on-screen, or rather solve a mystery the audience doesn’t already know the answer to. We so often associate Batman with his sobriquet “The Dark Knight” to the point that it is in the title of two Batman films, and often forget his other sobriquet, “the World’s Greatest Detective,” even though his character was first introduced in the DC series, Detective Comics. 

Batman’s story is also straight out of noir: organized crime, corrupt politicians who deal with them and the protagonist being a single man, usually a detective, who is psychologically wounded and might appear morally ambiguous or compromised, but generally adheres to his own personal code of ethics.

Setting and Tone

The setting comes straight out of the original comics with the style being late 1940s from the cars and clothes to the Tommy guns. In contrast to a lot of Batman films, you see actual blood from the wounds as well as teeth getting knocked out, which helps to convey a better feeling of the violence. The animation used is what the producers called “Dark Deco,” Art Deco combined with noir imagery. It helps to give the film a dark atmosphere not seen in a few of the live-action films (Nolan’s), and while I’m not saying dark = better, as Snyder proved that with his Superman films, it works perfectly with a dark character like Batman. There is a tragic, melancholy tone to the whole film with the exception of the flashbacks. The dark overtone of the present scenes contrast nicely with the much brighter and more colorful past scenes of a young Bruce and Andrea’s blossoming relationship, giving the past scenes a nostalgic feel and reflecting a happier time in Bruce Wayne’s life. It only helps to emphasize the tragedy of the couple’s story.

Characters and Acting

Bruce Wayne/Batman

Kevin Conroy, himself a Shakespearean actor, does an excellent job as the voice of Bruce Wayne/Batman. He manages to convey different sides of the character from the dark, tough Batman to the friendly Bruce Wayne seen at social events and the more vulnerable, younger Bruce Wayne in the flashbacks. I remember seeing him live at New York Comic Con 2018 for a panel promoting the Blu-ray The New Batman Adventures; he said regarding the character: “Batman is his true identity, and Bruce Wayne is the performance.” Batman’s serious, commanding voice is present when he is wearing the mask or unmasked with Alfred, his most trusted confidant, but changes when he’s in public as Bruce Wayne with a more warm, friendly tone. This is opposed to Christian Bale’s Batman who used his Batman voice only when in the suit, and otherwise, used his Bruce Wayne voice, even with Alfred present.

We get the Batman we expect with his first scene being knocking a mob meeting, and beating up the mobsters. Likewise, we first see Bruce Wayne (excluding when he’s in the Batcave with his costume off) hosting a black tie party at Wayne Manor surrounded by a group of female admirers as well as a young, pre-Batman Bruce Wayne in the flashbacks. William Faulkner in his Nobel Prize speech said that there is nothing worth writing about more than the heart in conflict with itself, and we see this with Bruce Wayne’s dilemma between becoming Batman and wanting a normal life. This helps to give a kind of complexity to the character, and shows the personal sacrifices that came with being Batman.

Andrea Beaumont

Dana Delany is good as Andrea Beaumont. Andrea is Bruce’s ex-girlfriend, and practically the only person he ever had a chance of a future with. She managed to pull Bruce out of his dark solitude, and provide him a kind of happiness that likely had been missing in his life since his parents died. She also is a femme fatale straight out of a hardboiled detective fiction novel: intelligent, beautiful and harboring dark secrets. However, to the filmmakers’ credit, Andrea wasn’t a one note character, as in just a manic pixie dream girl who teaches a broodingly soulful young man to embrace life, a femme fatale out to fulfill her personal ambitions, or even a passive damsel in distress who always needs saving by her hero, but a layered character with agency.  

Joker

Mark Hamill is legendary for being the voice of the Joker, and he is consistently rated by fans as the best Joker. They borrow from Jack Nicholson’s Joker, and Hamill’s experience in the play Amadeus was incorporated into the Joker’s laugh, which he made into a song. This adaptation of the Joker fits the sobriquet of “the Clown Prince of Crime,” with a flower on his suit that squirts acid, and a laugh combined with his unsettling smile that manages to be chilling. On the surface, he has the friendly, funny demeanor one would expect from a clown, but you also get the sense that beneath that lies the heart of a nihilistic, murderous psychopath. He manages to be both funny and terrifying, the ultimate scary clown.  

Alfred Pennyworth

Clive Revill does a decent job as the usually dry, proper Alfred Pennyworth. Alfred is the stoic British butler with a stiff upper lip, not without his own dry sense of humor (“What rot, sir! Why, you're the very model of sanity. Oh, by the way, I pressed your tights and put away your exploding gas balls”) except for two moments in this film. The first moment is when he sees Bruce don the cowl for the first time, and one sees the horror on Alfred’s face. The second is at the end when to comfort Bruce, Alfred drops the whole butler schtick for a moment calling him not his usual “Master Wayne” but “Bruce” to connect with him on a more personal level, and speak to the boy he knew. Giving him emotional support during his time of sorrow in that scene demonstrates how much Alfred is a father figure to Bruce. 

Arthur Reeves

I know this is just a minor character, but Hart Bochner also does an excellent job as City Councilman Arthur Reeves. Just by listening to his voice, you can feel this guy practically oozing a sleazy politician. Reeves calls for a special police force to capture Batman after the murders, and you can tell how much of an opportunistic, vain man he is. He also plays a quiet, minor role in Andrea’s story. 

The Promise vs Falling in Love: The Tragedy of Batman

Through flashbacks, we follow a young Bruce Wayne becoming Batman alongside pursuing a relationship with Andrea. You see his future hinted in the background whenever he is with her, with wishes of optimism and hope waiting to be crushed by an inevitable dark fate. Bruce meets Andrea at the cemetery as he was visiting his parents’ grave while Andrea was visiting her mother’s grave, and yes, that’s the most Batman way of a first meeting. We see his first attempt at crimefighting when he stops a robbery, and he wears just all black with a ski mask. He stops the robbery, but he mentions afterwards that the issue was the thieves didn’t fear him when they saw him. Andrea arrives just right after he mentions that. They have some playfighting, and surprisingly, he laughs, and they share their first kiss. He also sees the precursor for the Batmobile on their date, and bats appear from what would become the Batcave right after he proposes to her.  

It all comes to a head while on their date at a theme park, Bruce tries and fails to stop some bikers from robbing a man. He is later in his manor trying to design a costume for his superhero persona, and talks to Alfred about his internal conflict over his promise to become Batman alongside wanting a future with Andrea. Conflicted and confused, he goes to his parents’ grave.  

Now, what this film does a great job doing is displaying Batman’s dark psyche. Look at all the Batman films, and Bruce Wayne’s decision to become Batman is treated as a reasonable decision with Bruce in Batman Begins saying “People need dramatic examples to shake them out of apathy. I can’t do that as Bruce Wayne. As a man, I’m flesh and blood. I can be ignored, destroyed. But as a symbol . . . as a symbol I can be incorruptible. I can be everlasting . . . Something elemental, something terrifying.” He becomes Batman to become a symbol that could do things he couldn’t do as Bruce Wayne, and motivate the people of Gotham into taking action against the corruption and crime of the city. Compare that to Bruce Wayne’s decision to become Batman in Mask of the Phantasm in this scene.  

Bruce Wayne is at his parents’ grave, begging for a way out of his promise to be a crime fighter, and apologizing for falling in love and wanting happiness. He is losing a reasonable argument to the dead over a promise they never agreed to, and as any person would have told him, would have wanted him to be happy and be with the person he loves. His decision to become Batman isn’t portrayed as a healthy, rational decision at all, but a delusion. It isn’t largely driven by a personal desire to motivate the citizens of Gotham into combatting the problems of the city, but by childhood trauma and an obsession with vengeance for the deaths of his parents. For all of Nolan’s attempts to make his Batman as realistic as possible as opposed to the Mask of the Phantasm of the DCAU going for the more comic book feel, Mask of the Phantasm’s portrayal of the man who chose to don the cowl is, in my opinion, more realistic than anything we’ve seen in any Batman film.  

It makes it all the more tragic as his words “It just doesn’t hurt so bad anymore” show that his relationship with Andrea managed to provide a way for him to finally move on from his parents’ deaths. In their final scene together in their past relationship, we see Bruce finally propose to her, leaving behind his decision to become a vigilante crime fighter, and instead choosing a chance at happiness. Sadly, he gets the ring back the next day with a note telling him that she rescinded his proposal and he should forget about her.  

This is one of my favorite scenes. Batman first donning the mask combined with great musical direction by the late Shirley Walker captures both how epic and how tragic this scene is. It is epic seeing him put on the mask for the first time, and see only Batman’s eyes as he gives the famous Bat-glare, something that hasn’t been able to be replicated on live-action films. However, as scriptwriter for the film Michael Reeves stated: “When Bruce puts on the mask for the first time, and Alfred says 'My God!' he's reacting in horror, because he's watching this man he's helped raise from childhood, this man who has let the desire for vengeance and retribution consume his life, at last embrace the unspeakable." Alfred sees the Bruce Wayne he knew is gone, replaced by Batman. Bruce donning the mask isn’t portrayed as a happy event that the story had built up excitement for, but a tragic one as Bruce, having lost his one chance at happiness, sees becoming Batman as the only thing left for him.  

The Ending (MAJOR SPOILERS):

The Phantasm is unmasked, and revealed to be Andrea. She comes to the theme park to kill the last of Valestra’s old gang, Jack Napier AKA the Joker. Unmasked Andrea and Batman, whom she figured out is Bruce earlier on, are at the theme park where they had their date in a flashback. The park was named “World of the Future,” and it symbolized the bright and hopeful promised future Bruce had with Andrea. Now, it was abandoned, dark and decrepit, occupied only by the Joker, Valestra’s ex-hitman who killed Andrea’s father. It represented not just the state of Bruce and Andrea’s relationship, but the people they had become. Andrea’s story by the end is revealed to be so much similar to Bruce’s. She is motivated by the murder of a parent, lost out on a chance for happiness and with seemingly nothing left, donned a dark visage to carve out a path of vengeance. (These two are perfect for each other.) As opposed to fighting criminals and super-villains to defend Gotham’s citizens, she decides to murder all the mobsters involved in her father’s murder. Her path is more vengeful, and shows what Batman could have become were it nor for his own code. The park is later destroyed by the bombs the Joker placed around it, symbolizing the end of their relationship, as it is the last time Batman sees her (on-screen at least) with her final words being “Goodbye, my love.” Andrea is later on a cruise ship, and when asked if she wants to be alone, replies sadly: “I am.” Batman in the final scene is standing on a skyscraper looking up at the sky with the Bat signal, and just fires a grappling hook as his mission goes on with his life unchanging. These two people who are practically made for each other are destined by fate to never be together, but spend the rest of their lives apart and alone.

As is typical in noir fiction, the story ends in a lose-lose situation for the protagonist. Every other Batman film ends on a happy note, or at least with some optimism with the most pessimistic ending being The Dark Knight with Batman taking the blame for Dent’s murders and Dent’s death himself, and Rachel is dead after deciding to choose Dent over Bruce, but he at least won some victory as he stopped the Joker, and achieved his aim of preventing Dent’s case from being dismissed and the mob being set free. In Mask of the Phantasm, one doesn’t get the feeling that Batman won anything: no criminals were put away, and no overarching goal was achieved with even the unmasking of the Phantasm not feeling like a win. The only thing that could be seen as a victory is Andrea ending her quest for vengeance, but Bruce is still left heartbroken. The real tragedy of Batman is the price he pays to be him, his personal life is unchanging and he is never able to enjoy any peace or anything resembling a healthy, normal life. 

MOTP manages to be everything I think a Batman film should be: dark, action-packed, intelligent, entertaining and surprisingly, emotional. This will always be my top recommendation for a Batman film. 

#batman #dc comics #batman the animated series #bruce wayne #joker #mark hamill #kevin conroy #bruce timm #dcau #dc animated series #dc animation #dc animated movies

[inverted-sheep]

Shetland has two castles both of which date back to the time when the Isles were ruled by Earls. Even though both castles are in ruins, there’s enough left of each one to make them fun to explore.

I’ve been to them both several times now and each time I go back I feel surprised by how much of them there is left once you get inside. With both castles, but especially Scalloway Castle, I always get the feeling that they’re bigger on the inside. Now where have I heard that before?

Scalloway Castle – it’s bigger on the inside

Here’s a bit of history. I promise you won’t be confused. (But if you’re really not a history lover just skip the orange bits.)

In 1533 King James V had a son with his  mistress Euphemia Elphinstone (what a fabulous name!). They called him Robert Stewart. In 1542 he had a daughter with his wife. They called her Mary Stewart. Six days later the King died and Mary, as his only legitimate child, succeeded to the throne despite being less than a week old.

When Robert Stewart got older he was given land in Shetland and Orkney. This wasn’t enough for him and he seized more land and misused taxes. Of course this led to lots of complaints. In a way that doesn’t seem that different in politics today, despite the complaints he was made Earl of Orkney and Lord of Shetland. Eventually the local lairds (landowners) managed to get his Earldom revoked.

In the meantime Robert had got himself a son and so had his half-sister Mary. Robert’s son was called Patrick and Mary’s son was called James. Patrick didn’t get on with his dad but did get on with his Auntie Mary (who was now Mary, Queen of Scots) and cousin James (who was to become both King James VI of Scotland and King James I of England) and so was given his deposed dad’s titles.

As well as his Auntie Mary, Patrick also had an uncle called Laurence Bruce. Laurence was a half-brother of his dad though not related to King James. To recap, Robert and Mary shared a dad (James V) and Robert and Laurence shared a mum (Euphemia). Laurence was appointed sheriff and chamberlein of Shetland in 1573. He also abused his position and only lasted four years before he was sent back to Scotland with the 16th century equivalent of an ASBO banning him from ever stepping foot in Shetland or Orkney again.

Yeah, right. Twenty years later he was back. And not quietly. In 1598 he returned and got himself a castle built on Unst, the most northerly isle in Shetland. Meanwhile Patrick was on a bit of a land grab which didn’t go down well with his Uncle Laurence and they were at loggerheads.

Patrick decided he needed a castle of his own and got one built in Scalloway on the Shetland Mainland. To get one up on Laurence he also decided to get a palace built in Kirkwall in Orkney. He didn’t actually need either as he mostly lived in the palace in Birsay in Orkney and usually had a representative looking after his affairs in Shetland.

Patrick’s castle in Scalloway was built using unpaid labour. He basically commandeered the local lairds’ tenants and didn’t even offer food or drink in return. You can imagine how well that went down. He also claimed all the driftwood that was washed ashore for use in his building project. In a place with very few trees, driftwood was the main source of wood and so denying people access to it was grossly unfair. There were lots of rumours and complaints about the evil Patrick and it was said that he was using blood, eggs and human hair to build his castle. This was probably true as these ingredients were often used in building in those days.

Finally, in 1609, the lairds had really had enough of Patrick. At last their complaints were heard and he was taken to Edinburgh Castle where he was imprisoned. He was executed in 1615, though not because of his behaviour with the castle building, but for treason. He had been encouraging his son Robert (not to be confused with his dad, Robert) to take over Orkney.

With the demise of Patrick things changed in the Isles. Shetland and Orkney had originally belonged to Norway and had been given to Scotland as part of a dowry. Though they were now Scottish they had still been ruled using the old Norse legal system. With the Scotland Act these ‘foreign laws’ were abolished and the legal system was brought into line with the Scottish system. This was not necessarily a good thing as the Norse laws had been more precise and less susceptible to interpretation.

Okay, so I lied about it not being confusing. Even though I’ve read lots about this, I’m not convinced I properly understand it all myself. If anyone would like to correct me on anything then please feel free to drop me a comment below.

The castles didn’t last long after this. Muness Castle in Unst (Laurence’s castle) burnt down in 1627. Scalloway Castle (Patrick’s castle) fared little better. It was used to house troops in 1653 and by the early 1700s was said to be in poor repair.

Muness Castle

The entrance to Muness Castle. It’s roofless and some of the floors are missing, but the outer walls and towers are still standing.

Muness Castle is found by following the road round from Uyeasound. If you want to walk it’s a couple of miles from Uyeasound, but quite a pleasant walk on a nice day and you do pass an interesting 3m tall standing stone along the way.

Looking back towards Uyeasound village from the Clivocast standing stone on the road to Muness Castle.

At the entrance to the castle you can find a box with torches (that’s flashlights to my American readers), but they’re often not that good so you’re better to bring your own or use the light on your phone.

Looking out to sea from Muness Castle. I do like the rope topping along the wall.

Uyeasound (the body of water by the castle, not the village with the same name), was once an anchorage for ships trading between Shetland and Leith in Scotland. There would also have been ships and trade from Bremen in Germany and it’s thought that most of the castle’s furniture would have come from there.

Of course a castle this fine had to have a pretty well-stocked wine cellar.

Sketches on the information boards inside the castle give an artist’s impression of how it’s thought the castle would have looked in its heyday. The walls in the smaller rooms would have been panelled, in larger rooms colourful tapestries would have been hung on the walls. The ceilings would have been painted. The furniture would have been top quality and there would have been plenty of fine silverware displayed.

Upstairs in the castle – there are information boards throughout.

It was first and foremost a castle though, and so had plenty of gunholes and turrets and a couple of towers. From the towers the gunners would have been able to see anyone coming no matter which direction they were coming from.

Looking out to sea

You can explore the castle on several levels, up and down different staircases. Other staircases are closed off as they’re too dilapidated to use today.

Some of the stairs are well past their use by date.

Parts of the castle are completely dark – some of the corridors and small ground floor rooms for example – and this is where you’ll need your torch. On the upper levels you won’t have a problem with the light because of the missing roof.

This corridor was pitch black – it’s why you need a torch.

If you look at the walls around you, you will be able to see the remains of fireplaces and the lines of holes in the walls where the joists for the upper floors and ceiling would once have been.

Here you can see the outline of the original fireplace and the where the joists for another floor would have slotted into the walls.

You can easily spend half an hour exploring this castle and more if you read all the information. There’re a couple of parking spaces in the nearby layby and it’s not too far to walk to a very nice beach.

Scalloway Castle

Scalloway with its castle in the centre.

A word of warning here. If you are planning to drive to Scalloway to visit the castle and you’re coming on the road from Lerwick, you need to have your wits about you (and very quick reactions). You arrive on the hill above Scalloway a lot sooner than you might expect. As you drive up the hill and reach the top the road bends to the right at a complete 90° angle. At the same time the view opens up and you get your first view of Scalloway and its castle.

The view is stunning and absolutely breath-taking (the photo above really doesn’t do it justice). To go back to what I said about needing your wits about you – these really could be your last breaths as the view takes you by surprise and puts you in danger of sailing straight ahead right over the cliff edge. Even though I’m expecting it, the first time I see it on each visit my reaction goes something like this:

Wowwww (complete astonishment, head moves forward, eyes widen)

 Eegghhh (complete panic, head goes back, hands grip steering wheel, body tenses)

 AAARRGHHHH (I didn’t know my van could fly!)

Actually I’ve never got to the AAARRGHHHH bit because I’ve always pulled my steering wheel round to the right with about half a second to spare. But do take care.

Scalloway Castle seems taller and more tower-like than Muness Castle, though it’s thought the same master builder, Andrew Crawford, was responsible for both.

The castle originally had four stories. Like Muness, its outer walls still stand but its roof is long gone. Some of the ornamental stonework is missing as it was taken to be used in other buildings during the 18th century. Excavations have revealed that there would have been additional outbuildings to the north of the tower, but these can’t be seen today.

Collect the key from the museum and you can open the door and pretend you live here.

To get into this castle you need to collect a key from the Scalloway Museum which is next to the castle and well worth a look.

Look for the inscription over the door – you won’t be able to read it, but look for it anyway.

Before you go in look out for the inscription over the door. It’s impossible to read today, but according to an 18th century record it says, “Patrick Stewart, Earl of Orkney and Shetland. James V King of Scots. That house whose foundation is on a rock shall stand but if on sand shall fall…”

The castle is L-shaped with a main rectangular shaped tower and a smaller square wing. The ground floor housed the kitchens and stores as well as a well.

Follow the corridor and check out all the rooms leading off it.

As Scalloway was the original capital of Shetland, this castle was used as the thing (Norse word for parliament) during Earl Patrick’s time. Court sessions were also held here and there was a room in which prisoners were kept whilst awaiting their trial.

There is plenty of information about the castle and the Earls on the walls on the ground floor.

Even though Patrick had lots of inherited debts he had very extravagant tastes and this castle would have looked pretty fancy back in the day.

Notice the partially glazed windows.

The walls would have been covered in tapestries and the huge fireplaces would have a cast a flickering glow as well as providing light. The windows were partially glazed, but glass was expensive even for an Earl with extravagant tastes so the lower parts of the windows would have been covered with wooden shutters instead of glass. Obviously this blocked the light.

Although some floors are missing it is possible to get upstairs in parts of the castle.

The fireplaces burned through so much peat that the local tenants were required to provide peat as part of their rent. Rent was also collected in the form of a low-grade butter used for lubrication, fish oil which was mostly used for lighting and wadmel which is a rough form of cloth. These items were also collected for taxes which were meant to be passed on to the Crown. The goods, once collected, were sold to the German merchants who would visit Shetland each year.

You could do with a torch in this castle too.

The main staircase leads up to what was the great hall. Small spiral staircases in opposite corners led up to the Earl’s private quarters. On the top floor were rooms for guests each of which had its own fireplace and latrine.

Scalloway Castle from across the bay

Both castles are really worth a visit and it’s nice to see them both so you can compare. They are both free to enter as well. Muness Castle can be visited at anytime, but because you need the key for Scalloway Castle you can only get in when the museum is open (though you can wander round the outside at any time).

So what do you think about this tale of two castles and the tales of the Earls? Share your thoughts in the comments below. 

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A Tale of Two Castles. New post with an outline of Shetland history and help to plan your visit to the castles. Shetland has two castles both of which date back to the time when the Isles were ruled by Earls.

#castle #history #Muness #Orkney #Scalloway #Shetland #Unst

[forevercloudnine]

pre-new 52 scarebat ship meme

 (I actually have no idea what to call this period of comics. The dc wiki calls this the “New Earth” universe... it’s like, everything after Jason Todd was retconned out of being a circus acrobat up to Flashpoint. Anyway like a month ago I asked @heroes-etc​ to send me questions for this version of scarebat from this ship meme but then forgot that I did it because I got distracted by other ships. Sorry Jonathan...)

4. Who can’t keep their hands to themselves?

Bruce does DO physical affection — I mean, how many comic panels do we even have of him making out with Catwoman on rooftops — but he’s not especially forthcoming with it. I don’t think it’s an exaggeration to say that his love interests are more likely to instigate contact than he is, especially when that love interest is a villain like Selina or Talia (can you even IMAGINE him trying to take them off guard in a fight by grabbing their face for a kiss? Because I cannot).

He does occasionally instigate affection with his children/proteges, though usually it’s in instances where they obviously need comfort. Bruce isn’t always great at handling complicated emotional situations, but grief and trauma is something he understands very intimately, and he never hesitates to physically reassure people who are in that kind of pain.

In situations where someone isn’t in the active process of being traumatized, he’s less forward with physical affection. That doesn’t necessarily mean he’ll reject it if it’s instigated — depending on who you are, of course. I’m guessing he wouldn’t put up with hugs from random members of the Justice League. Superman is his best friend and he would probably try to wiggle out of 90% of Kal hugs if doing so was physically possible. Most of his loved ones don’t really spring physical affection on him unless they need it or it’s an especially emotional moment, however. It’s not really Bruce’s primary love language. 

Jonathan seems even less physically affectionate than Bruce, though obviously doesn’t have a lot of opportunity to demonstrate how he feels either way. Master of Fear offers the only example of him expressing explicitly romantic affection that I know of (unless you count his terrorizing Becky Albright in New Year’s Evil as physical affection, which... might be how he’s thinking of it...?), and it’s entirely instigated by Sherry Squire. He does ask her to the Halloween party, but she’s the one who takes him down to the furnace room for some “one-on-one” time and tells him to kiss her. 

He also notably does not actually get a chance to kiss her, mainly because the whole thing was a prank meant to humiliate him. This might be why he doesn’t try to instigate anything similar with his next crush, Dr. Linda Friitawa (again, unless you count Becky Albright, but I can’t find New Year’s Evil to read anywhere so my only knowledge of his interaction with her comes from Tumblr. I’m like 80% sure he was supposed to be interested in her romantically, but asking someone to do supervillainy with you isn’t the most direct way to express attraction, so I’m taking that as more obliqueness from Jonathan).

He never expresses any direct romantic interest in Linda, but at the very least he clearly cares about her more than he cares for most people, since he, like. Defends her in conversation and apologizes to her for things that aren’t even his fault. Which means a lot, coming from a sociopath with no regard for human life. They do hold hands at one point, but Linda reaches out to him first, and he waits to see if she’s going to back away from his reciprocated touch before he reaches for her other hand. 

He never instigates anything further with her, possibly out of fear of rejection. Unfortunately, it turns out that this was a good call, because Linda was only pretending to be nice to him while Penguin was paying her to experiment on Jonathan without his knowledge. When Batman figures out what they’re doing, she immediately fucks off and starts dating Black Mask.

Even more unfortunately, his 45 seconds of hand holding with Backstabby McMad Scientist is probably the only mutual physical affection Jonathan has ever experienced in his entire life, so honestly I have no idea if he would be more into it as a concept if it was offered to him more often. He’s clearly willing to return physical contact when it’s initiated by someone else, so maybe it is something he would seek out in an actual relationship? He DOES get handsy with Bruce when he has Batman tied up sometimes. 

9. What is the most embarrassing thing they have done in front of each other?

Trip out on fear toxin, both of them, hands down. There are few things more embarrassing than, as Jonathan aptly describes it, being “reduced to whimpering quivers” in front of your enemy. Especially an enemy who’s presumably jotting down notes on your worst fears, since Batman/Scarecrow fights tend to just be competitions in who’s more frightening.

11. What do they hide from one another?

I mean, obligatory mention of the fact that Bruce hides things from absolutely everyone (with the possible exception of Alfred, because Bruce trusts him as completely as he is capable of trusting anyone, and also because it’s really hard to hide things from a parent whose involved in every aspect of your life and already knew you before you developed your pathological need to obfuscate your feelings and intentions).

As Wonder Woman pretty aptly describes during the Tower of Babel arc, even Bruce’s closest allies are never going to hear the full story from him. So it’s deeply unlikely he’d ever be 100% truthful with a supervillain, even if they got close AND Jonathan reformed. 

But it’s notable that Jonathan’s fear toxin has actually given him a more honest look into Bruce’s psyche than he would ever purposefully give to people who aren’t close family members. And by “close family members” I again pretty much just mean Alfred. Unfortunately for Bruce, nothing forces emotional transparency like mind altering drugs. Fortunately for Jonathan, nothing forces emotional transparency like mind altering drugs! Not that I’m recommending that anyone drug a romantic partner into being honest with them. But Jonathan is a trained psychiatrist, so I assume his psychological know-how combined with insights gleaned from the dozens of “sessions” he’s had with Batman in the past would leave him more prepared than most to decipher the mystery that is Bruce Wayne. (@heroes-etc: riddler is SEETHING.)

Jonathan meanwhile is more than capable of putting together a clandestine scheme, but in respect to himself he’s actually pretty straightforward. Though his driving motivation in this continuity gets more and more complicated over time, from the early 90’s “I just like fear” to the early 2000’s “my Granny tortured me with birds when I was a child and now I’m obsessed with inspiring the same fear and submission she forced on me onto others,” what doesn’t change is his willingness to monologue about it to anyone who’s listening.

Also, anything that Jonathan is unable or unwilling to go into detail on, Bruce is more than capable of puzzling out himself. In Scarecrow: Year One he successfully tracks down Jonathan’s old home to recover and read through Granny Keeney’s diary, and after Scarecrow’s Master of Fear origin was published, it’s clear that Bruce has done his research on Jonathan’s childhood. There’s even a (presumably unintentionally) hilarious scene where Bruce pauses mid-rescue of a man that Jonathan has kidnapped and traumatized with fear toxin to lecture him on having bullied Jon in high school.

Is this really the time, Bruce???

(@heroes-etc: oh 100% he nailed that timing.)

13. When do they realise they should get together?

Well, circling back to Tower of Babel, it’s revealed when Ra’s al Ghul has Talia steal Bruce’s contingency plans for defeating the Justice League that Bruce has “borrowed” Scarecrow’s fear toxin in case he has to take down Aquaman.

This was back when Scarecrow had a number of different toxins that induced different phobias, or made people hallucinate hyper-specific nightmare scenarios (such as “being eaten alive by roaches from the inside,” for some terrible reason). Batman notes in his contingency files that Scarecrow has already done the work for him; presumably Jonathan had already designed a formula to induce hydrophobia, so all Bruce had to do was steal a vial of it from a crime scene.

(The sentence “Why not make him incapacitate himself... perhaps through fear?” alone is like 90% of why I think these men would get along like burlap on fire if they ever actually cooperated on something. Also, unrelated, but the polaroid of Jonathan he has in the Aquaman file is weirdly adorable.)

Bruce’s plan for Arthur is incredibly effective, and notably also Bruce’s only contingency that isn’t either inherently lethal or a ruthlessly sociopathic betrayal of emotional vulnerabilities that had been revealed to him in trust and friendship (RIP Kyle Rayner).

(Notably, Bruce’s plans for Kyle and several other leaguers directly involve using their worst fears against them, even without a fear toxin conveniently tailored for this purpose. Bruce just really likes using fear as a weapon against people.)

After Tower of Babel, Bruce obviously needed to create new contingencies, since the whole point is that they were secret plans that no one could see coming. In canon, Bruce goes on to create the A.I. satellite Brother Eye for this purpose (which backfires even worse than his first set of contingency plans, because of course it does). But I think an interesting alternative could have been Bruce tapping Jonathan for more toxin strands tailored to taking down the Justice League. If Bruce Wayne offered to pay Scarecrow’s way out of Arkham in order to develop formulas that could neutralize the world’s most powerful superheroes, is there any way that Jonathan would turn him down? I mean, obviously he would plan on betraying Wayne at some point, and Bruce would similarly be working against Jonathan’s best interests. But maybe if they set aside their “who’s scarier” dick measuring contest to work together for once, they could come to recognize their shared passion: scaring the shit of people.

Also, the Jonathan in this continuity really likes books. And you know what’s a reliably sustainable source of books that can’t be confiscated by the authorities? Dating Bruce Wayne. The manor alone probably has an insane amount of rare books that have been hoarded by his family over the years. It’s like a weird reversal of the Beauty and the Beast, where the rude rich guy who gives a library to the love interest he may or may not have technically kidnapped is the pretty one.

21. Where do they get nervous about going with one another?

If they were dating, I’m guessing Jonathan wouldn’t want to go anywhere in public with Bruce at all. Bruce Wayne is a celebrity bachelor, and celebrity bachelors get a lot of attention, and people who take celebrity bachelors off the market get a lot of NEGATIVE attention. The public reaction to Bruce settling into a committed relationship with anyone would be the kind of weirdly resentful gossipy judgement that the girlfriends of famous princes or actors or musicians always get from tabloids and entertainment television, but in Jonathan’s case it would be a million times worse. Not just because he’s a supervillain, because if there’s any town that would expect its most eligible bachelor to eventually date a supervillain, it’s Gotham. But more specifically because “ugly social outcast” is one of Scarecrow’s most enduring character traits. Not exactly the traditional trophy wife. And though Jonathan’s Scarecrow identity seems to distance him from a lot of the shame he suffered growing up, I’m guessing that the kind of spiteful vitriol that would follow him anywhere he accompanied Bruce would at the least bring back some very unwanted memories.

Bruce probably doesn’t have the same discomfort Jonathan would with being seen together in public. He doesn’t care if people think Bruce Wayne is insane or lacking in judgement as long as they don’t think he’s Batman, and I’m sure he’d find a way to spin “dating a man who prefers to dress exclusively in burlap” into something appropriately characteristic of playboy idiocy. But while he'd definitely respect Jonathan's wishes to stay out of the public sphere, he would probably enjoy any opportunity to bring Scarecrow into Gotham high society, since his presence would definitely shake up a party, and Bruce is generally extremely bored at any social event where he doesn’t have anyone to snark with. And with Jonathan’s scathing wit as entertainment, Bruce might one day fulfill Alfred’s wish and actually make it through an intermission sometime.

I’d say that Bruce would be nervous about taking Jonathan out for “field research,” but I’m sure it would be one of Scarecrow’s requirements for any long term collaboration, so it’s something that he would have to get used to pretty quickly. He would probably endeavor to keep Jonathan away from anything that could retrigger his less healthy behaviors. On the other hand, it’s not like Bruce does that for himself, so it stands to reason that he probably wouldn’t be able to successfully control Jonathan in that regard either. 

It doesn’t help that one of Jonathan’s primary motivations in villainy is his childhood, which is... exactly the same thing that Bruce is fixated on. A significant portion of Scarecrow: Year One is the two of them waxing poetic about how similar they are in this regard. 

Relating to this, even though it might be a terrible idea, I don’t think Bruce would be able to resist encouraging Jonathan to reconnect with his mom. Bruce would never recommend for someone like Cassandra to seek out a relationship with her father, but if someone he cares about has a LIVING parent who WASN’T abusive to them? It seems unlikely that Bruce wouldn’t advocate for reconciliation. Jonathan’s dad obviously never cared about the teenage girl he knocked up or their bastard child, but Karen Keeney is a different story. DC Holiday Special ‘09 makes it clear that Jonathan was taken away from her against her will, and she’s spent a significant portion of her life wracked by guilt imagining what the woman who abused her was doing to her son.  

Ultimately she attempts to commit suicide because she feels personally responsible for every terrible thing her son has ever done, which is tragic because really she’s the only member of the Keeney family completely blameless in the creation of the Scarecrow. In Scarecrow: Year One Jonathan clearly resents her for leaving him and moving on to have another baby that she actually did keep, which I would call a really paranoid case of jumping to conclusions if it didn’t seem extremely likely that Granny Keeney told him his mother didn’t want him and left him to be tortured on purpose.

(Side note, it is REALLY weird how young Karen Keeney is depicted in Scarecrow: Year One. At times her son looks older than she is, and it doesn’t help that her second born child is an infant for some reason. Even if Jonathan is only thirty years old here, then unless she had him at younger than fourteen, she should already be in her mid-forties. Why did she only have a second child so late in life? The implication with her abusive husband is that she ended up getting trapped in a bad relationship for survival when her family kicked her out as a teenager for disgracing the family by having Jonathan. It would make way more sense for her child with him to be at least in elementary school. Also the scene would have been way more interesting if Scarecrow’s sister was old enough to talk.)

Thankfully Deadman manages to convince Karen to hold on to life long enough for someone to call 911, and she ends up surviving the suicide attempt. But were Jonathan ever to reform, it seems like reconciliation would be really healthy for both of them, since miraculously Karen still seems to care about Jonathan despite everything he’s put her through, and they’re both clearly still suffering from the after effects of Mary Keeney’s abuse. 

Bruce would be enthusiastic about this prospect for obvious reasons, although he would presumably still be nervous about the possibility of everything going terribly wrong. And even if everything went perfectly right, he would STILL be nervous, because everytime Jonathan goes to see his mother there’s a chance that she will mention the time that she kissed Batman full on the mouth. And that is not information you would ever want your psychologist boyfriend to know, unless you want to be mocked with Freudian buzzwords for the rest of your natural life. 

(...This would also count as a thing that Bruce hides from Jonathan.)

#scarebat #jonathan crane #scarecrow #bruce wayne #batman #i just they're neat #it's all about those shared interests #and by shared interests i mean subjugating your enemies through fear #ship meme