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#where the reader said that jay's “occasional brilliance” intertwined with horrible mistake can be explained by a sports analogy
boyfridged · 1 year
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this is perhaps completely obvious, but the comparison of pre-crisis vs post-crisis jason runs is such a poignant illustration of how the intentions of the writers make a world of difference.
pre-crisis jay was, ironically, at the beginning of his career much more of a thrill-seeker and much less serious about his motivations behind his desire to be a sidekick than post-crisis jay ever was. he was also much more reckless. he said, for instance, that studying crime was even worse than doing homework, and what interested him was going after "action." he didn't like the thought of not being credited for his actions. but he was still a character written with so much sympathy and enthusiasm – with so much open and continuous consideration for his youth, his past, his feelings. and the readers saw that! so many of them loved him! when you look at the back pages of these issues, issues in which jay often committed mistakes during patrols, in which he was at times petty and moody, you see with how much compassion they looked at him. there were letters that started with hate about the art or the storytelling, and ended with warm and attentive analyses of jay's character.
and the thing is, reactions to post-crisis might have been worse, but i don't think it was ever a matter of people disliking any iteration of jason todd from the start (even if some were certainly prejudiced as dick grayson fans. and as bigots); it's simply that post-crisis jay has never been written with a similar amount of care. o'neil saying that "people really hated jason" and that "he didn't know why" is absurd because (well, first of all, i don't think that he was ever that hated, and second of all) he was specifically written in a way that prevented a lot of casual readers to connect with him. pre-crisis, we see jay's perspective all the time, also beyond the patrols. he's much meaner than post-crisis jay a lot of times! for example, he tells julia (alfred's daughter), who is at the time staying at the manor, that he saw new flat listings, insinuating that she should move out because he is bothered by her presence. and that's rude. that's a reason why someone could think that he is a spoilt child (which imo pre-crisis jay actually very much is. i don't think it's a bad thing). but we also see him in his bed later, wondering "how could i have said something like that to her?" so naturally we see it from his side too.
on the contrary, when it comes to post-crisis jay, we have almost no insight into his head up until a death in the family. and of course, starlin admitted that he did want to make him unlikable; so suddenly everything jay does, including acting against orders, is written to make him seem like a difficult, unpleasant kid. but something you really have to understand is that the same attitude, when previously displayed by pre-crisis jay or even dick (!) was seen as endearing; a sign of bravery and an honest heart. in the first issues by collins, as well as barr's detective comics run, there's a semblance of recognition for that. beyond that, the whole narrative of his (very short) published history gets hostile. and starlin might not have written any of that outright, but you see that shift. all of a sudden a decision that would make you go "aww" if moench or barr wrote it, makes you displeased. i think one thing to take away from that is asking if it were depicted in the same tone if dick or tim did the same thing, for example. it's content that requires a much more critical attitude from the reader, that's for sure.
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