Ok so ive noticed the whole menhera discourse, and from what ive gathered its essentially a kawaii japanese version of emo (at the emotional/motivational core of it) with a more medical slant. So couldnt the short answer to haters be 'its kinda kawaii japanese emo actually', like, to make things clearer from the start? Bc starting a longass explanation about word meanings and social climates in japan every time must be tiring for both sides
Yeah, I’ve heard it called kawaii emo too. It’s so frustrating that people won’t even actually look into the meaning of something before claiming it’s bad and asking for “r u mentally ill” permission slips.
dude if bruce existed irl im p sure he would have rallied so hard against guns and probs would be successful too. i do wonder if there ever was anything like that in the comics?? wayne vs the rifle association. probs nearly getting assasinated.
Omg now I’m pulling my Batman books from the shelves to try to remember if anything like that ever happened. xD;
Anyway, the simple version of this is that Batman doesn’t use a gun because his parents were killed with a gun, but that’s very much the surface of what’s going on. Batman has always been rooted in violent crime, but in the countless retellings and revisions over the years, you never see the mugger using a switchblade or anything. It’s always a gun, and this original depiction has remained mostly unchanged since it first appeared. The biggest change I can think of is Frank Miller adding the close-up shot of Martha Wayne’s necklace being pulled apart in the version that he used for Batman: Year One, but other than that, this is how it always goes. That in itself is important, because the presence of the gun allows for so much.
Again, there’s the purely dramatic aspects of it. Guns are loud and flashy — even without a sound effect, you can hear the “BLAM!” that’s supposed to accompany those two shots. It’s lurid and shocking, even with Kane’s slightly dubious ideas of how smoke clouds work.
But more importantly, there are symbolic aspects to it. The gun is seen here not just as the tool of a criminal, but a tool of murder, something that gives this scrawny, weasely mugger the ability to kill Thomas Wayne with no more effort than squeezing his trigger finger. A knife is deadly, yes, but it’s the strength and skill of the person holding it that makes it so. A gun requires less effort; anyone holding it becomes capable of ending someone’s life with a minimum of effort. As Thomas Wayne proves, there’s no rushing someone with a pistol — there’s only one guy who’s faster than a speeding bullet, and he’s appearing in a different magazine.
The reason this is so important is that it shows us what Batman is up against. If the gun is the tool of Crime, then every criminal has this power over life and death. When the origin continues and we see Batman training himself, we see exactly what he’s training himself to overcome. He needs to be better than the man with the gun.
Of course, it’s worth noting that ‘Tec #33 is still in that period where Batman’s packing himself, but it’s the start of things shaking out. In less than a year — a full decade before the Comics Code that some casual readers blame for “sanitizing” Batman — he’ll have completely given up on firearms and gone full-time with those crazy boomerangs of his.
And that in itself shows us Batman’s superiority over his enemies. Those comics are full of scenes where a batarang goes up against a pistol, and the batarang wins every time. Because we’re familiar with guns, because they’re a tie to our real world where we know that boomerangs aren’t exactly the ultimate weapon, they serve as an example of just how good Batman is at his job. That’s why they show up fifty years later in the opening of Batman: The Animated Series as one of the most iconic images of Batman:
It’s interesting that when that show came out, part of the Broadcast Standards and Practices guidelines that most shows followed prohibited guns from appearing in cartoons for kids, but Batman: The Animated Series employed them so frequently to give an edge of danger and symbolism to the character.