i still love batman more than any of the other superheros combined

You’ll be Okay || Damian Wayne x Reader

Alright so this is it, the first fanfic I’m writing or this account. You ready? LET’S GO. The prompt is #76 you’re not alone from this prompt batch.

I’m imaging Damian to be around 16 (as well as the reader) in this one but there is no exact age so… whatever works for you

it’s a long one so, be prepared

(words; 1720)


You and Damian never got along well. He was stubborn and blunt and had no bedside manners. You were sarcastic, witty and reckless. To you, he was the worst person in the world and you hated how he didn’t care for team work, how he made everything into a competition and how he always, with every comment or snide look, made your heart flutter. You hated how his strong jaw and emerald eyes and incredible physique made you want to just grab him by the sides of his face and kiss him. You hated him.

To him, you were an insufferable smart-ass that always had to make a comment and he hated how you always knew just what to say to piss him off. He hated how, when his brothers made you laugh he would want to punch them, because he could never make you laugh. He hated how you could have your hair un-brushed, in a messy bun, wearing an oversized jumper, and still look like the most beautiful thing he had ever seen. He hated you. 

As a friend of Tim’s from school (you were both in the robotics club and Tim was the only person who could keep up with your caffeinated rambles), and a superhero yourself, you practically lived at Wayne Manor. This caused problems for everyone when you and Damian started glaring at each other or, more often, started arguing over stupid things. You were always arguing, in the living room, or kitchen, or foyer about Alfred’s last cookie, or talking too loud, or someone left their shoes in the way, was harmless. The rest of the family often joked about how you should kiss, or how you were in love with each other. You and Damian always shut these accusations down, always accompanied by a name or insult.

But as Damian listened to you screaming from the infirmary, he was terrified at the prospect of his brothers being right.


The Scarecrow had been tracked to a warehouse near Gotham Docks (what an original hiding place). You had been called in by the Bat because of your powers. You had the ability to control anything that that was in the form of or was in the current state of gas. Or, as Damian puts it, “you control air, stop trying to make it sound impressive”. This power was especially useful when dealing with a villain who uses gas to do his villainy, but that didn’t stop Damian from complaining the whole time. For this reason, Bruce stationed you on opposite sides of the dock. 

The plan was simple. You and Jason, the two most reckless, would sit nearby and watch, to intervene if things turned sour. Tim would sneak in and shut down the machines used to make and produce the unknown toxins that Scarecrow was making, Dick would provide cover for him against any goons. Damian and Bruce would be the ones to take Scarecrow head on. Simple.

You and Jason sat on a roof, watching through the glass roof of the warehouse used by Scarecrow. You watched as Dick dove into battling goons and Tim snuck around to the control panel.

I wish we could actually go in and help.” Jason grumbled. 

You mean you wish you could shoot someone?” You laugh back. Since you began helping the caped crusader, you and Jason sort of just, clicked. Both of you were reckless souls that lived for danger and adventure. Nobody thought this was a good combination, but they left you both be.

And what’s wrong with that, Gust?” Jason Threw you a smirk and moved his gun in a way that allowed the gentle moonlight to reflect.

Both of you, shut up.” Tim grumbles and you turn your attention back to him, hiding around a corner and typing away on his keypad. Dick seemed to be struggling with goons, and Damian swiftly swung in. You made a sarcastic comment to him about how his entrance was graceful, he responded with a snide remark on how ‘at least he was helping fight’. Bruce, after telling you both to stop, jumped down after Damian.

I told you to wait Damian.” Bruce gruffly chided him, punching a goon and swinging them into another.

Yeah. Dami. Follow the plan.” You muttered, but loudly enough for all of the boys to hear.

Gust, enough.” He said, commanded really. This time you shut up. Bruce started helping his oldest and youngest son’ staking down goons.

Why is she allowed to call you Dami and not get a death threat?” Tim suddenly speaks up, annoyed (but whether it’s from struggling with the machine’s firewalls or Damian was hard to tell).

Aww, Dami.” You coo condescendingly, knowing just how to push his buttons.

She’s not. But Batman beat me telling her to shut up.” Damian responds, ignoring your comment and punching a good a bit too hard.

Or,” Jason chirps from beside you, “Demon spawn has a wikkle cwush.” You snort and high-five Jason. Damian just growls and kicks a guy in the… downstairs. You continue to make comments, encouraged by Jason and Dick (who were also teasing their baby brother). You and Jason stayed, waiting for things to be bad enough for you both to assist, watching the boys fighting goons. You watched as goons kept flooding into the room in waves and they were quickly overwhelmed. Jason motioned for you to stay put and jumped down, but there were hundreds of goons, from all different villain bosses, in that warehouse (it appeared as though Scarecrow had hired to goons of other villains that were currently in Arkham). But when Jason landed, he took them down with efficacy (but not killing them or the Bat would get mad). Â Tim was pulled from the machines by goons and had to turn his attention away to defend himself. You were itching to help but the numbers were slowly dwindling, so you stayed put.

That was when the machines started to operate and Scarecrow made his presence known. You jumped down and took over the goons attacking Batman so he could go after Scarecrow. Well, that was the plan. Instead you were taken down by the Scarecrow (you really should pay more attention) and he held a gun to your head. The boys were all distracted but there was only about 100 men left to take down. Jason saw you and took to killing the goons, Batman too distracted to notice. 

Well, Bats, it seems you have lost your touch.” Scarecrow calls out, referencing the fact that all five of them were overwhelmed. You tried to wiggle out of his grip and resisted the urge to draw the air from his lungs (because Batman was very adamant to discourage you killing, being younger than Jason). A mask was placed over your face and a thick air filled your lungs. You tried to fight it but you were already feeling weaker and you couldn’t concentrate enough to use your powers. The last thing you remember was someone calling out to you, but their voice was very distant, and falling to the ground. 


You had to be strapped down to your hospital bed in the infirmary, like a mental ward patient. You had been there for nearly three weeks and you only stopped screaming when you were asleep, but you very rarely were. 

You had been strapped down after the first time you woke up. You had woken up and tried to kill Jason, who was on duty at the time, looking out for you. You were sedated and strapped down. You woke up multiple times that day, screaming bloody murder, before Bruce decided to run a DNA test to find out what had flooded your system and caused to act so… afraid. When you weren’t screaming, you whimpered like a small child at nightmares and monsters that only you could see. 

Two weeks later, the boys were antsy. They still didn’t know what was in your system and they were all terrified (even Damian, although he wouldn’t admit it). Then, Bruce, with the help of a very tired, figured out how to help you and what the toxin was. 

The Scarecrow had figured out the limits of your powers. He made a toxin that was a liquid that was almost in the state of a gas, so it could be inhaled, but it wasn’t, so you had no control over it. The toxin showed the victim their greatest fears, even able to replace people with whatever monster that would scare them the most and flood their dreams.

But finally, Bruce and Tim had found a cure for you (the machine and all traces of the toxin apart from the sample they took were destroyed). 

With the cure making its way through your bloodstream and you slowly were regaining consciousness. Damian was on ‘guard duty’ when you were waking up and watched you cautiously. 

“hmm. Mm.” You quietly moaned, still seeing the ghosts of your nightmares. “Damian?” You looked curiously at the boy sitting next to your bed. You try to move your arm to wipe your eyes and you notice the restraints. Your gaze rises back to Damian and you wait for him to comment. Instead he leans over you and releases your arms. You rub your eyes and shudder as another flash of the monster that haunted you for nearly three weeks crosses your mind. Then you start to cry. Damian doesn’t know what else to do, so he leans forward and hugs you.

You’re not alone. I’m right here.” He whispers while you cry into his shirt. “You are okay, ‘amira.” You slowly compose yourself as Damian continues to whisper reassurances to you, slipping between English and Arabic. “satakun bikhayr.” He whispers as you gently pull away, slightly blushing.

He looks at your (e/c). Even though they are bloodshot, your eyes are still the most beautiful he has ever seen. 

“Are you okay now?” He asks in a hushed tone.

“Yeah. I think I’m good.” Your throat scratches from the weeks of screaming. You both just fall into silence. His emerald eyes showing an affection towards you that you have never seen before and your resolve to never admit your liking towards him started to fall apart. And it completely crumbled when he leant forwards and connected his lips to yours.

A/N; ‘Amira means Princess. Satakun bikhayr means You’ll be okay. (all translations are from google translate so they could be wrong)

Here’s ANOTHER idea:

Let’s say, several years before Krypton’s ultimate demise, it’s government was kind of weird. 

Millennia before the concept of a people-centered government arose, Krypton was lead by a royal family, which came from a long, long, long line of Kryptonians with mutated DNA which allowed them to be born with random abilities (like the x-men). Early Kryptonians believed that these powers were given to the Krypton royals by the god Rao, as he believed those people were destined to lead them, and everyone else just sorta went with it. The royal family of course kind of spread apart, and with other factions of the Kryptonian populous combined to form Krypton’s houses (El, etc.).

The special Kryptonians lead for centuries, and most of the time were very good rulers, primarily women/Queens or other. This DNA would not be changed if a royal married a non-royal, so the idea of some commoners becoming royals was actually required for the system to work. Eventually, the houses formed a council to guide the Queen and King, which lead to a chain reaction and the monarchy to ultimately diminish. But many Kryptonians still believed their power made them special, so royals became a front for the people (doing things like curing people, kissing babies, etc.) while the council did most of the actual governing.

Upon the age of Krypton’s demise, they had been warring with nearby planets for methods of energy production (a thing that eventually destroys Krypton). Maybe another race becomes angry or something similar, as the infant child of the current King and Queen is stolen in the dead of night. Krypton begins to war with itself over using it’s power to find the princess, or to find a solution to the energy crisis, which causes the planet to ignore times of war, leaving the princess’s capturers free from war when Krypton eventually goes kablooey. Everything works out for the bad guys; they have the supposed last ROYAL Kryptonian in their hands (which would sell well on ANY market) and their worst enemy is gone. You know what happens on Earth with another survivor, Kal-El. But what happens to the last member of the royal house of Lae, Ra-Lae?

A Kryptonian spy hiding amongst the enemy steals the princess away, taking her to a trading planet at the center of the galaxy to hide her. But the spy is discovered and killed seconds after he leaves her a similar crystal to the one Kal-El, leaving the baby in the hands of a crew of pirates—yes. SPACE PIRATES. Considering that this planet they are orbiting has a yellow sun, they can’t really destroy or kill this baby, so the Captain just shrugs their shoulders and takes in this super-baby.

She is raised with these pirates and is taught to become their secret weapon, stealing and protecting for them. She learns how to fight and thrive, and then eventually her k-gene develops and she gets the ability to manipulate certain kinds of energy; particularly solar energy, which is where she gets the ability to create shields and blow shit up! So not only can this kid deflect bullets and fly faster than a speeding bullet, but she can zap you with the power of the sun

Now Ra-Lae, or just Ray (like sunshine, a nickname she got from her pirate pals), comes upon something that can read whatever this crystal she has says (which she, of course, wears around her neck like a necklace), and finds out all about her heritage and her lost world. Sure there must have been survivors, Ray hugs her pirate buddies goodbye and follows a trail back to Earth.

(By now, you can guess what she’s like; a quiet but sassy, conflicted, emotionally-defensive, too-powerful teenager who flies through space in a leather jacket. Because of certain laws of physics and a black hole encounter, she is younger than Clark.)

There, she crash lands in Gotham (because let’s face it, she can’t fly for shit unless it’s in space). And guess who finds her—not Superman, not Batman, but Robin. Jason Todd’s Robin, who immediately decides that Hey, this pretty girl needs help and she’s clearly a streetrat like me, let’s take her on an adventure! So Jason is constantly shoving this girl into his closet and hiding her from Bruce, as he’s teaching her about Earth. Ray insists that he help her find the source of this energy, and Jason promises to do so. Somewhere along the line she finally fesses up and admits where she’s from (after she and Jason have gotten close, of course). (He also definitely calls her princess). That’s when Jason decides to take her to Superman.

Kara probably shows up halfway through this meeting (”Who could miss Clark finding out about ANOTHER Kryptonian he doesn’t know about?”), and since she lived on Krypton, she instantly recognizes the symbol Ray wears on her chest. She kinda looks at this funky girl and realizes omg it’s the princess of Krypton and drops into the royal salute, spouting rapid-fire Kryptonian that Ray can’t speak as fluently. She gives a short explanation, and after all this ruckus, Kara turns to Clark and goes,”This girl? That’s the princess of Krypton.”

Clark, of course, doesn’t know how to dad. But BRUCE does, 100%, and Jason seems to like her so why not? So Bruce runs his tests, then he gives Ray a public identity as another one of his wards. Boom! She gets into the whole Superheroing thing and calls herself something like Ray or Supersun or whatever, Jason dies, she joins homas one of the outlaws later and she and Bizarro bro it out, she and Jason develope a romance, blah blah blah. There’s a bunch of kinks I need to work out, but I LOVE THIS IDEA SO MUCH AND YOU CAN ALL FIGHT ME ON IT.

Prepare to see more of this idea in the future… But hey, here’s a working title:

RAY: THE LOST PRINCESS OF KRYPTON

idriselbasbf  asked:

This is so completely random, but you're very probably the only Batfam Stan that also loves the Superfam and knows the various members of both families. I was wondering, in your mind, which members of the Superfamily match up with which members of the Batfamily? Like for instance, I've always firmly believed that Linda-Mae matches up with Dick, while Karen goes with Helena. As far as Babs goes, they share her.

If I’m reading you correctly, you’re asking who roughly inhabits the same spots in the Superfam that the Batfam has, yes? It’s really a fascinating question because I think there are lots of comparisons to be made, but it’s also interesting because of the ways they don’t line up perfectly. Like there’s a big difference in their structure just by the fact that Lois is the clear matriarch of the family and almost none of the Superfam have been without a relationship with her. So getting comparisons for some positions does tend to get a little fuzzy. So, I’m just going to go through the family one by one, starting with the most obvious which is Clark and Bruce. 

Keep reading

anonymous asked:

Top 10 batman writers?

With particularly honorable mentions to Steve Englehart (his Batman wasn’t itself up my alley - though his Joker is another story altogether - but his significance is undeniable), Greg Rucka, Jeph Loeb (Hush was fun, dangit! Or at least it was fun to young entry-level DC reader me, which I understand has been its general underappreciated function over the years among fans), Peter Milligan, and Matt Wagner, as well as Dwayne McDuffie and Christopher Nolan outside of comics:

10. Scott Snyder

This’ll be a controversial one, no doubt about that. Look, Scott Snyder is easily one of my favorite superhero writers out there, and his Batman run is a favorite of mine. But judged as a Batman run specifically as opposed to a rip-roaring superhero book in general, his take is rather…specific. As he develops his voice on the character, his Bruce Wayne moves further and further into the territory of beleaguered 80s action hero, constantly freaking out and in over his head but always ready with a fast quip and a solid fist. His grasp of Batman’s thematic underpinnings is second to none, but while his execution of those ideas is just about always a blast, it’s surprisingly rare it feels on-point for the character as he’s existed elsewhere over 78 years. But I still can’t exclude the dude who wrote Court of Owls and Zero Year.

9. Bill Finger

Finger makes it by default; while I’m surprised myself that I’m putting him so low, that in and of itself is only a testament to the versatility and enduring power of the world and themes he built. But make no mistake, he’s not just here as a matter of being grandfathered in: aside from being one of the best done-and-one adventure writers Batman ever had, stories like The Origin Of Batman and Robin Dies At Dawn pack an emotional punch that resonate to this day.

8. Denny O’Neil

About as close as you can get to the founder of Batman as we know him today, aside from maybe my next pick. O’Neil hasn’t batted a hundred over the years, but when he’s on-point he’s as good as it gets, swinging between giddy pulp adventure and pitch-black noir that set the definitive template for what it is we expect out of Batman, and his interactions with several of his most important loved ones and enemies.

7. Frank Miller

In terms of characterization, Miller’s Batman is maybe best thought of in the same terms as the Golden Age comics - instrumental to Bruce Wayne as we understand him today, but recognizably not quite that guy yet. But Miller energized, mythologized, or outright invented a truly staggering degree of the fundamentals of Batman’s world, punctuated by moments of pure, distilled Batman-as-unstoppable-vengeance, whether hauling two hundred and twenty pounds of sociopath to the top of the highest tower in Gotham, bursting in on an upper-class mob meeting to deliver his statement of intent, or recalling what it takes to make the world make sense as he drives his best friends’ face into the Crime Alley pavement, with just enough humanity in there (accepting and nurturing Carrie Kelly as Robin, telling the kid not to swear, saving the cat in Year One and stopping a punk from falling off a fire escape and catching a beating for it) to keep it palatable.

6. Alan Brennert

If Miller defined the myth of Batman as we know it today, Brennert was the unsung hero who gave him his heart. While his work was minimal, the weight it carries in certain circles can’t be overstated - his Batman was emotionally raw like none before and few after, confronted with his traumas and the walls he had built around himself, and forced to confront himself and his relationships or lose everything. For The Autobiography Of Bruce Wayne alone, Brennert handily secures his place among the greats.

5. Darwyn Cooke

Cooke didn’t do a tremendous amount with Batman before his passing in terms of writing, but what there is is work for the ages. With his recreation of Night of the Stalker! he captures Batman at his brutal, haunting noir best, but it’s with Ego that his seizes his position in the top five with a comprehensive, insightful, and truly spooky look at the center of Bruce Wayne’s mind that says more about Batman with a single one-shot that most of his writers do in their entire careers.

4. Paul Dini

If you’re talking about drawing the straightest line between a writers work towards Batman as we know him today, perhaps no one has more of a claim to fame than Paul Dini. One of the braintrust behind Batman: The Animated Series and later a writer on the main books, he’s been behind armfuls of iconic, fan-favorite Batman stories of every genre permutation that solidified the caped crusader as we know him today: stoic, determined, brilliant, compassionate, and possessed of a jet-black wit that while sparsely deployed perfectly offset the horror surrounding him on all sides. Kevin Conroy is the Batman we all hear in our heads, and Dini put some of his best lines in his mouth before taking that skill to an underrated run on Detective Comics that deserves a spot among the greats.

3. Warren Ellis

I’ll be upfront with all of you: I am as surprised as anyone that Ellis is placing so high here. Hell, his first Batman story, a two-parter in Legends of the Dark Knight early in his career, was notably lackluster by his usual standards, and it makes up a significant percentage of his output (even if you count his Moon Knight run with Declan Shalvey as de facto Batman comics, which I absolutely do). But I thought about his other Batman stories - the first-ever Black and White feature with Jim Lee, and the Planetary crossover - and asked myself one by one, “are you better than X writer’s entire cumulative, often revolutionary Batman output?” And dammit if the answer didn’t keep being “yes”. What it comes down to is that he is to Batman as Garth Ennis is to Superman: a writer without much love for the superhero genre (though Ellis seems to have come to terms with it as a perfectly acceptable storytelling delivery system, as opposed to Ennis’s more pronounced disdain) who in a couple fits and spurts found the one character they seem capable of genuinely investing in, and whether people noticed it or not absolutely rocked it beyond comprehension in their time with them. Ellis found through Batman a perfect conduit for his righteous anger with the cruelties of the world, nailing his cunning, his cool demeanor, his vicious humor, his anger, his sympathy, his ability to inspire fear and awe in equal measure, and in the best Batman scene of all time, he articulated better than any writer before or after him why Bruce Wayne fights, and what for. Combined with his Moon Knight as a window as to how he might handle the character on a month-by-month basis that became an all-time great run unto itself, plus his excellent showing in Ellis’s arc of JLA Classified, and I just can’t make myself rank him any lower than this.

2. Tom King

The newest entry to the list, Tom King already had plenty of love when he came onboard thanks to Grayson, Omega Men, and Vision, but he was stepping into some of the most titanic shoes in the industry in Scott Snyder’s wake. But not only did he live up to that standard, he’s soared far beyond, with a thoroughly human and determinedly unconventional look at the degree to which Bruce has hindered himself emotionally for the sake of his mission and the toll of a neverending war on his mind. Ranging from fist-pumpingly cool to unrelentingly grim, profound to self-consciously silly, and managing to be soul-curdlingly cold and shamelessly tender in equal measure, Tom King not only finds the heart of Batman as few others have, but does so through one of the characters’ boldest, most technically spectacular, and refreshingly honest runs.

1. Grant Morrison

Just as much as he is with Superman, Grant Morrison simply is The Batman Writer. I’ve written at extensive length on his work here before, so in short: Morrison’s Batman is the best run a major Big Two character has ever received by miles and one of the best in comics period. He writes Batman as a mystery, as a thriller, as a pulp action romp, as sci-fi, as psychedelic spy warfare, as pure superheroics, as lurid horror, and as one man’s attempt to transcend himself through the ideal his symbol embodies and its ability to inspire others. He played with the symbols and themes underpinning Bruce Wayne like none other, he not only perfectly nailed Batman’s character but imposed a character arc over the whole of his publishing history, he touched on every corner of his world while carving out entirely new and unique spaces, and he left behind an honest-to-god epic that’s visibly influenced every major comics take since. There is simply no comparison of his work to anyone else’s, and I sincerely question if there ever will be - even more than his work defined Superman for me (and his Superman work includes my absolute favorite work of fiction period), his Batman is the Batman that lives in my head.

Thoughts on Batman V Superman (it’s pretty bad)

Originally posted by giphy

SPOILERS BELOW

I went into Batman V Superman: Dawn of Justice with low expectations. Like, about as low as they could possibly get.

Critics and creators I respect have said it’s really bad or that it’s so divergent from the characters its based on as to be unrecognizable. Friends I know said it was bad. But even still, my morbid curiosity about it got the better of me. I had to know for myself: Just how bad is this movie?

Worse than I could have imagined, but kinda amusing in its own way.

Originally posted by thecityoftomorrow

Bottom Line:

All the best scenes and dialogue from BvS are shown in its many trailers, and I mean ALL of them. There is NOTHING compelling in this movie that isn’t available online for free. Just watch that over again.

I swear to you, your brain will fill in the rest of the movie with more interesting scenes and ideas than what’s in the actual film. It’ll make more sense, and probably be less insulting and contemptible that what’s on screen in BvS.

Originally posted by selofain

My Initial Reaction:

Moviebob’s vitriolic rant of a review? That wasn’t just hyperbole. This movie is as sour and morose an experience as he described. Almost nothing about its story or its locations is established, character motivations don’t make sense, there’s a bunch of glaring plot holes, and the action is so goofy that it would be schlocky and fun if the characters weren’t so dour and joyless.

This movie is bad when judged on its own merits. It’s a weirdly paced, oddly structured mess that relies more on dream sequences than it does on actual character interaction. It’s a story told by “visual oriented” filmmakers who leave all the character interactions and dialogue feeling awkward or lifeless. It’s a series of well-made trailers/music videos that’ve been horribly stretched into an overlong movie.

This movie is SO much worse as an adaptation of DC Comics superheroes. It utterly misses the point of Superman, and it presents a ‘Dark Knight Returns’ version of Batman but without any of the context or history that made that character great.

For context, I unironically love the character of Superman. 

  • I love Superman as a gay icon. Clark’s dual identity of the mild-mannered reporter VS the bright, colourful, empowered hero is a powerful symbol for being in the closet.
  • I love Superman as an analogy for the world as seen by immigrants to the US: A literal immigrant raised on the virtues of the “American Way”, growing up to embody the absolute best of those virtues as an exemplar to the world.
  • I love that Superman is the perfect combination of “you can’t tell me what to do” childish power fantasy and “I always do the right and moral thing” example for children.
  • I love that, to me and countless others, Superman is a character who makes “doing the right thing” seem cool and empowering. ‘Doing the right thing’ versus ‘being a badass’ is almost never cool in modern fiction, but characters like Superman and The Doctor (Doctor Who) make it seem cool.
  • I love that he’s one of the few superheroes who has a good family that is there for him. A superhero who isn’t motivated by guilt, or tragedy, or a dark past, or destiny, or a tragic fate. Superman chooses to save people. He chooses to be a good man, and that choice is informed by him having parents who love and support him.

Both the Clark Kent and Superman characters in this film are almost sociopathic. Clark’s scenes with Lois make him seem inhuman and imposing, and as Superman he’s every bit the grim, frightening alien that Batman believes him to be. 

He threatens to kill Batman at least twice. I feel like his default inclination is to threaten his enemies with death. He’s a monster! 

That’s a version of the character that is so far removed from my understanding and appreciation of him that it’s completely alienating. Blech! I kinda hate it. 

Originally posted by gameraboy

My Feelings Later:

The movie isn’t all bad. I mean, it’s terrible, but it’s got its moments.

The casting was mostly good. Ben Affleck makes a great Bruce Wayne in the public, for what little we see of him being Bruce Wayne. Henry Cavill definitely looks the part of both Clark Kent and Superman. I want to see way more of Jeremy Irons as Alfred. Irons and Affleck have definitely sold me on the idea of a new solo Batman movie with the two of them.

Gal Gadot steals every scene she’s in as Wonder Woman, which is admittedly only one. Her reveal is so bombastic, she looks like she’s walked out of Snyder’s 300. I’m definitely interested in seeing more.  

The action in the film is so schlocky and weird and dumb, that thinking about it after the fact makes me giggle:

  • Batman apparently has an entirely ‘tire-based’ workout. Lifting tires, smashing tires with sledgehammers, dragging tires on ropes, doing chin ups with tires. It’s the “Bat Tire Workout”, and its goofy as fuck. 
  • There’s a bit where Batman rips a bathroom sink off of a wall and bludgeons Superman in the face with it while shouting. Then he spins Superman around on a rope, smashing him into walls. It’s pure schlock.
  • The President of the US orders a nuclear attack on Doomsday/Superman, but he’s does so via teleconference with all his dialogue shown as shots of a phone on a table. The whole time I’m thinking: “Oh, they elected a phone as a President! President Phone! Lookit the president resting on the table there. You show president phone some respect!”
  • Aquaman looks like a cranky old man barbarian in his brief reveal. He brandishes a trident at a submarine, as if to say “You damn kids, get away from my sunken ship!” 

This movie is so dumb. I kinda loved these goofy bits though.

When it isn’t frustrating or making me mad, I’ll bet BvS is a schlocky bad-movie masterpiece on par with Batman and Robin.

Originally posted by prettyboysbrokenhearts

The Big Takeaway:

Batman V Superman strikes me as a film made by people (Zack Snyder, David Goyer, Chris Terrio) who don’t really have any appreciation for Superman beyond being a messianic figure who can do punching real good.

The filmmakers never show Superman being a “good guy”. The montage of him saving people is framed against scenes of destruction and hopelessness. People literally look up at him in awe and fear while VO of news reports speculate on whether Superman is actually helping people.

Superman, a character often used as an optimistic and positive contrast to Batman’s dark and fear-inspiring presence, is presented in BvS as a psychopath who we’re only told stands for good.

It’s incredibly telling that the only point in the movie where other characters are inspired by Superman are at his funeral, once he’s dead and buried

As if to say “Superman can only be a positive force in people’s lives once he’s gone. He’s only valuable as a hero when we refer to him in the past tense, as a memory. We don’t want to have to deal with him in our movie(s) unless he’s causing destruction”.

Fuck this movie so hard.

anonymous asked:

I just don't understand how you can (rightly) call out panels like that, but still justify everything about Grayson. I don't get it. Dick has been brought down so much from the amazing character he was before, it's insulting to him and fans. Not to mention the gross and constant sexualization of his character while belittling all his other skills.

answer below the cut. sorry, this become such a long, long answer probably bc I’ve been avoiding this discussion on fydg but I can’t avoid it forever so here we go, everything spilling out in a mess of emojis and feelings and bad unedited grammar 

Keep reading

crim-bat  asked:

Rena, what do you think makes up the essence of a good Superman story?

I think like any lasting and impactful superhero, the essence of Superman can be subdivided into several fractions. Like how Batman can have a good story by concentrating on his role as a detective, as a father, as a superhero, as a billionaire, as a part of Gotham, as a man, and then any combination therein. 

To me, the essence of a good Superman story is one of these or any combination of:

  • “What makes us human?” Superman is Kryptonian by birth, but most who know him, including his main bud Bats over there, often refer to him as the most human of any hero. What is it about a man born in space that could make him so undeniably a reflection and even part of humankind? If its not his biology, what is it about his character and his morals that make him so remarkably human.
  • “Son of two worlds” Clark Kent and Kal-El are not individual people, but how they are written often are, but both should impact Clark. Clark is the son of Jor-El and Lara Lor-Van. He’s also the son of Jonathan and Martha Kent. Clark loves and honors both of his families, but the impact of being adopted and being torn between his loyalties makes for a truly vulnerable insight to his character.
  • “Truth, Justice, and the American Way” Clark is apolitical and not particularly patriotic despite one of his most famous mottos. Really, one of the most consistent character traits he has is his scrutiny of governmental and especially military power. He stands for the people – all people – and doesn’t stand down to any government, even his own. He refuses to work for any political power [insert why The Dark Knight continues to suck from an analytical perspective and why there is a basis for the government to not like Clark but for people to love him enough to make the government fear acting]
  • “Standing alone, together” Clark views the world as an outsider, but it’s the sort of removed way that makes him see what’s good and deservingly loved about the world around him. Still, to truly embrace that feeling, Clark falls in love with humanity. [Specifically someone who knows how he feels alone, but for different reasons*]
  • “THE Superhero” going absolutely balls to the wall nuts with a Superman story is par for the course. More than any other superhero, Clark IS the superhero genre. This is where the most outlandish and fun stories can be told and SHOULD be told. Because they’re fun and because Superman’s such a big, out of this world concept himself, the biggest stories have to rise to the occasion and challenge him in ways that account for his abilities and comfort levels.

To me anyway.

*Also to me, I judge Superman stories based on their Lois Lane portrayal. She is just as important to each of these points and to Superman as Clark Kent. She has been there since #1. Denying her part played into the mythos is a problem on multiple fronts.