Batfamily Dynamics In ‘Titans’

So you know how I love the Batfamily? Well, I do. And that’s another reason watching Titans makes me geek out like an idiot. It’s so centred on Dick and his growth that we get a lot of insight into how his family affected him. It gives us a unique and compelling take on Dick’s relationships with both Bruce and Jason, without having them as his entire story, and it’s fascinating to watch.

I loved getting to see Dick interact with Jason. But I haven’t seen anyone discussing the one thing that kind of weirded the comics fan in me out – the ages and the impact they have on the inter-Batfam relationships. Jason is the only character whose age we canonically know, because it was actually brought up in the show. Sure, people involved with the show have given us some numbers – or at least, vague ideas – for the others, but remember, Writers Cannot Do Math. So until everyone else’s age is solidified within the show, the only thing I’m willing to assume is Jason’s. Unless he was lying for some reason I don’t understand, Jason is explicitly nineteen. He’s also explicitly been with Bruce for about a year, so pretty much immediately after Dick left. Presumably, him going out as Robin has been recent, both because Robin hadn’t been seen in over a year as per the beginning of the pilot and because he needed time to learn the necessary skills. That confuses me, because it means Jason has been a legal adult for the entirety of his relationship with Bruce. He’s not an adopted son anymore. He’s not a child soldier. He’s young, brash, stupid, but he’s not exactly the kid that sees it as a game – he loves it, thinks it’s fun, but he also is okay with the idea that he’s drawing fire. It changes the relationship between all of them.

I’ve always thought that the age of becoming Robin was most essential to Dick, and less so for everyone else. This is because Dick’s story was about loss and pain. It’s a clear parallel to Bruce’s – they lost their parents at about the same age. They started fighting crime to deal with it. By the time Dick became Nightwing, he’d been Robin for pretty much half his life, and he’d set aside the role in a way Bruce never would have been able to, had their positions been switched. In the show, he’s been Robin for even longer. So it makes perfect sense that in the show, he is having a hard time letting go! With everyone else, except perhaps Damian, it seemed like their age was much less important. But now, I’m wondering if I was wrong. It may not matter whether Jason is eleven, thirteen, sixteen. But I think it does kind of matter that he’s a minor.

One of the recurring points in the comics is that Jason kind of saw being Robin as a game. He wasn’t as emotionally invested as Dick, who had a personal reason for putting on the mask. He was a kid that was kind of in over his head. Aging him up changes the tragedy, because now he knows what he’s going into. He’s not just a kid having fun and loving the attention anymore, he’s an adult more capable of making his own choices. So for me, his anger at Bruce upon his resurrection won’t ring as true anymore. Likely, Bruce’s guilt won’t, either. It seems likely that, if Death In The Family is ever adapted in this show – which I doubt, honestly – they’ll have to take his becoming Red Hood in a very different way. With the implication that Dick telling him he should cut out the tracker in his arm will lead to him doing just that, leaving Bruce unable to find him, I wonder if adapting that arc would focus more on Dick’s guilt than Bruce’s.

That leads me to Jason and Dick’s relationship. I find that very interesting, thanks to the age gap. DC often tries to convince us that they’re very close in age, rather than Jason being closer to Tim’s than Dick’s. I seem to recall Rebirth insisting that they’re only a year or two apart. This is despite the fact that I’m pretty sure when Jason was introduced, he was eleven and Dick was eighteen. But Titans is actually acknowledging that Dick is significantly older. More than that – because both of them have been aged up, it’s easier to see how much they’re in different stages of their lives. That made it fascinating to watch, because Dick was clearly trying not to take out his anger at Bruce on Jason, and only partially succeeding.

Throughout the scenes when they were discussing the Robin moniker, I was unsure whether it was clever or an oversight due to DC’s long history of ignoring how personal Robin is to Dick. When I look at it from my own perspective – that of a fan that knows the history of Robin – I think the former. And since it’s on a DC streaming service, viewership is mostly limited to DC fans with a solid knowledge of the comics history. So from that perspective, it makes a beautiful amount of sense to not bring up what Robin really means to Dick – his family’s colours. His mother’s nickname for him. Dick has spent a long time closed off from other people. He’s not going to just spill his life’s story to the random kid that came barging into his life wearing his costume and calling himself by his name. It’s more than enough that the audience knows why he’s questioning why Jason didn’t make his own identity, why he’s upset that his father figure handed over his name and costume to someone else the second he left, why he’s having such a hard time letting go of Robin and carrying the suit with him across the country. But. That doesn’t work as elegantly for viewers  that aren’t comic fans.

The episode didn’t delve into the origins of Robin, why Dick has so much difficulty letting go, why he has every damn right to take his suit all around the country and be annoyed at the kid that acts like he knows what Robin represents without knowing any of the history behind it. So for viewers that don’t know and love Dick Grayson, it must come across very differently. Jason’s speech must seem like a genuine armour piercing speech, cutting to the heart of Dick’s issues. And to an extent, that is the case. Dick doesn’t really know who he is, doesn’t know what he wants or needs. But it isn’t like he’s a kid that’s outgrown his favourite sweater but doesn’t want his little brother to get to have it. This isn’t about him refusing to move on. It’s about him being unable tobecause he’s afraid of what letting go will mean.

Titans is shockingly subtle for a superhero TV show. It’s utterly character driven. I’m not used to this kind of storytelling when it comes to superhero media. It’s slow. It’s indirect. It waves forward than rolls back. It has characters go through similar storylines for very different purposes. If 1×06 was about Dick’s relationship with Bruce, 1×07 was the obvious follow through – his relationship with himself. His self loathing and anger and confrontation of the fact that it’s not really Bruce he’s mad at – he’s mad at himself. 1×06 ended with Dick acknowledging that Bruce did the best he could. 1×07 focused on Dick hitting rock bottom, because if he’s done blaming Bruce, it’s time to look inwards at himself. It’s nuanced. It’s hard to watch. It’s awesome.

It seems most people weren’t expecting anything this subtle, and as such, aren’t taking the time to interpret it as they would non superhero stories. You can see that both through the complaints that 1×07 was the same thing as 1×06 and through the complaints about Donna “badmouthing” Bruce in 1×08 when she contrasted Batman and Wonder Woman by saying Batman was created to punish the guilty, rather than protect the innocent. I saw a lot of people mad about that, saying that it’s missing the point of Batman and all that, but I don’t think that’s true at all – it’s been made very clear throughout the show that this perspective on Bruce is only part of who Bruce really is, and it’s coloured by bitterness and anger. Donna’s quote was even more like that than Dick’s own thoughts on Bruce, because Donna’s attached to Dick. She loves him and cares about him and saw how much all of it was affecting him.

That doesn’t mean that Dick doesn’t still care for Bruce! It doesn’t mean Bruce is the “bad guy”. It means that Bruce and Dick are flawed people with a flawed relationship. It means that vigilantism as a lifestyle is ridiculously unhealthy. It does a disservice to the quality of the writing to simplify it down to “they’re painting Bruce as a villain”. Dick went from refusing to talk about Bruce to casually referring to him as his dad to a stranger. And yeah, sure, that was probably at least in part because it was the easiest way to get the point across without delving into their whole relationship to a random person – the guy was already weirded out by Dick reminiscing about when Donna got her first camera before even introducing himself, how much more weirded out would he be if Dick started going on about his foster father that took him in after his parents fell to their deaths in a trapeze accident? But it was also about Dick coming to terms with himself and his relationship with the man that raised him. It was him remembering that his childhood had good times as well as bad.

Kory joked about Jason being younger, healthier, and smarter than Dick. As comic fans, we know only one of those things is true. But it made me consider what I know about this version of Dick – not comics knowledge, not cartoon knowledge, just what has been revealed in the show. And that’s kind of awesome to think about, because Dick hasn’t done any real acrobatics yet. For all that a segment of the viewership complains about it being the Dick Grayson show, we don’t really know all that much about his past, either. He hasn’t gotten a chance to show off many of his skills. That’s because the focus has been on who he is, not what he can do or how he learned it or the details of how he became who he is. And it works.

I’m obviously biased, due to my love for him, but even if I weren’t, I think it would still be pretty clear to me that Robin is one of the main characters of all those to have ever been part of the Titans. Almost certainly the most popular. Dick was the only member of the original roster that was included in the main cast of the cartoon and the main cast of this show. He leads the team. He’s had a successful solo series. He’s the poster boy for how Sidekick Graduations Stick. So, yes. It doesn’t bother me at all that the show is called Titans, while really being about Dick. It probably would if any other members of the Batfamily – except Tim, but that won’t happen for a while, if at all – end up as main characters, because that would be making it not a Titans show. Focusing on Dick? That’s just picking a main character.

Dick’s arc has moved beyond his issues with Bruce and into the territory of his issues with himself. So we don’t need a confrontation to conclude the character arc he’s going through – which is good, because introducing Batman will no doubt pull focus from the team that the show centres on, even though we know full well he exists without him showing up. However, because Bruce has been a spectre hanging over Dick since the first episode, we at least need something. It’s not going to be enough for Dick to be like, “hey, I worked stuff out with Bruce, we’re cool now”. For better or for worse, whether the resolution is us hearing the beginnings of a phone call or a season ending with him knocking on the door of Wayne Manor, we have to get something, and it has to have some amount of dramatic weight. The build up has been subtle. But the conclusion needs to be more.

Titans leaves me both wanting more of the Batfam and knowing there are few ways in which that could actually work. I don’t think Jason can carry a show. I know making any other members of the family recurring characters will pull too much focus away from what the show is supposed to be about. And being one of the Titans, rather than in a Batfam show where he’d always be second fiddle to Bruce, is better for Dick as a character. All this together means that I’m holding my breath, waiting to see how the writers handle the issue in the end of season one/beginning of season two, because they’ve built it up so beautifully, it’ll be downright tragic if the conclusion doesn’t measure up.

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The Robin Issue

Dan DiDio famously hates Dick Grayson.

DiDio is the DC equivalent of Joe Quesada – not just in terms of their position, but in terms of their attitudes towards superheroes. He hates endings, he hates characters getting to grow, and he thinks happy endings are boring. It’s been a long running joke in fandom that Nightwing’s greatest nemesis isn’t Deathstroke or Blockbuster, it’s DiDio. And a while back, he made a comment about precisely why he hates Dick that I found interesting – and by interesting, I mean frustratingly ridiculous. And that comment was that he hates him because he’s getting older.

The reason that I hate Nightwing is that he’s getting older… The reason people like Nightwing because he aged with them. But Batman can’t get older.

This is something I disagree with for multiple reasons – mainly because I think it’s silly to claim that a character as popular as Nightwing is only liked for one reason, and that it’s completely inaccurate to say he can’t get older. But even though I disagree, the comment made me think about the roles Dick has had in comics throughout the years, and comments I’ve seen from various people about different members of the Batfamily, and I came to a rather unfortunate conclusion that it’s not really that I disagree with his point so much as that I disagree with who the point is about.

I adore Dick Grayson and his relationships with other members of the Batfamily, but we’ve reached the point of oversaturation. DC has spent so long relying on a formula that works when it comes to non-powered heroes that they’ve wrung out just about every bit of use they can get out of it. As the first, and arguably the last, kid sidekick, Robin is hugely important to the Batman mythos…but I think it might be time to retire the mantle.

The Many Characters To Use The Name

Batman-and-Robins

A few months ago, there was this whole thing going on. Zack Snyder had mentioned on Vero that he had envisioned the Robin whose suit we saw in Batman v Superman. There was quite an uproar about that, with a lot of people objecting to the idea because “being killed by the Joker is Jason’s story”. Similarly, many people complained about the characterization of Dick in Titans, insisting that he was behaving more like Jason or Damian. I found both of these complaints very strange. Because you know what? Even assuming they’re true, after everything that the other Robins have taken from Dick, I don’t see a problem in Dick retaliating.

The thing is, Robin is one of the legacy characters with the most people that have held the title. The Batfamily in general is enormous. Between Alfred, Dick, Jason, Tim, Barbara, Stephanie, Cass, Damian, and Duke – even if the current roster doesn’t include all those people – it’s a massive slate. And the one that ultimately loses out is Dick.

For a significant amount of time – close on twenty years, really – what we now call the Batfamily was just Bruce, Dick, and Alfred. And it was a dynamic that worked, which was why Jason was introduced to begin with. But now? Now, it’s too much. There are too many characters, and because so few writers have a good enough sense of nuance, there’s little sense of what makes each of them unique. It’s not a zero sum game, or at least, it shouldn’t be. But every time there’s a new Robin, they get some of Dick’s character traits, plot points, even friends, in an attempt to give them a clearly defined role within the family. To try and justify their existence – to make their value clear – writers have to lessen Dick, make him less competent, intelligent, driven. He’s a hugely popular character. Yet with how he often gets treated in works where he’s not the central character, you’d think he’s the Betty Kane to Jason, Tim, Damian’s Barbara Gordon – a far less competent character than the others to bear the name whose only claim to fame was being there first. That is painfully far from being true, because Dick defined Robin. Everyone to take up the mantle after him took on at least some of his traits.

Jason got Dick’s sometimes strained relationship with Bruce. Tim got his intelligence. Cass got his “best athlete in the Batfam” thing. Different people have started arguing that everyone should get his position as heir to Batman. Even Alfred plays a role, because he took on the position that was originally Dick’s as the most important person in Bruce’s life, the first one that he trusted and considered family. That last one has now been true for longer than it wasn’t, so I don’t mind it so much, but it is frustrating to see just how many comics involve writers forgetting how important Dick is while singing the praises of other characters for something Dick was first.

The Gradual Lessening Of Character Complexity

Dick is hard to write well, because even more so than the other characters in the family, because you can’t really distill him down to core characteristics. If you do, you’ll end up with seemingly contradictory traits that you’re forced to choose between, because he is that much of a complex character. It took him years to truly define himself, but when it comes down to it, he learned his attitude from Superman and how to deal with criminals from Batman. When Dick is written well, he’s the jack of all trades. He might not be as good a hacker as Barbara or Tim, as good a marksman as Jason, as good at fighting as Cass, but he can easily beat anyone else at all of those things. He has one of the worst tempers in DC while also being one of the nicest people. He’s a loner with social skills. He’s the former teen rebel that became the Golden Boy that set the standard all his successors have to live up to.  He’s a character that really can’t be simplified without cutting out half of what makes him interesting. It’s why he’s my favourite character.

Both in and out of universe, Dick was a trailblazer. He inspired a whole generation of heroes. He’s a monument to everything Bruce has ever done right. He has – or maybe has had is more accurate – interesting relationships with just about everyone else in DC. And because all of this was built up over eighty years, it all felt earned. Nothing felt rushed or undeserved – everything to do with his character, from leading the Titans to moving to Bludhaven to becoming Batman – was a natural progression of the character. It’s why I can buy his version of “student surpassing the mentor”. It took pretty much the entire time from his debut in 1940 to being the Batman to Damian’s Robin to do it fully. It was a lot of effort and time, but he did it.

nightwing.jpg

A lot of the newer characters just don’t have that level of nuance. Whether it’s because DC is impatient or they haven’t had good enough writers yet or any number of other reasons, their progress into becoming a hero falls flat. Take characters like Harper Row. Sure, she’s not used too much anymore (if at all, I can’t remember), but when she was, she came across to me as a complete creator’s pet. She had the same “get characteristics from predecessors” thing, but it was poorly done and felt jarring, because the writers felt it wasn’t enough to have one thing she was great at or many things she was good at, she had to be more determined than Steph, better with tech than Tim, be described by Bruce as his ideal Robin. That’s a problem that I think will only get worse with time and more new characters, especially if those characters become Robin.

The Batfamily is now considered by many to be basically everyone in Gotham. The roster as it stands is too much. Gotham has too many heroes. I’m not saying that DC should simplify it by not including some of them. Of course not. At this point, pretty much all of them have a long history and unique fanbases. But it is beyond time to stop adding new members. Certainly Robins, but maybe even in general, because at a certain point, it’s going to be all but impossible to give all these characters sufficiently nuanced personalities. They’ll end up more similar than different.

The Attitude That The Status Quo Is God

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DiDio also once claimed that Dick was redundant because he was never going to be Batman and wasn’t Robin anymore, arguing that once characters are allowed to age, they all become too similar – again, this is clearly ridiculous, but buried in there is something approximating a valid point.

Yes, it’s true that Dick’s not Robin anymore and will never go back – which is good, I have no idea why DiDio seems to think that’s a bad thing and have no desire to try to unpack that one. But it’s also obviously false that he’s never going to be Batman, because he has been. Repeatedly. The first time he donned the cowl was in 1994! And you know what? It’s completely untrue to say fans would never accept him as Batman on a more permanent basis, because we did. Dick as Batman after Final Crisis was widely loved to the point that readers lamented him going back to Nightwing. It’s completely false to say that any of this is because of the fans. No, this is because of writers that can’t move on – fanboys are running the asylum, and they don’t want to tell characters to grow.

Because of this fixation on the past, DC reboots its entire universe at the drop of a hat. They compress timescales, send loved characters off into limbo, erase relationships from existence, and force characters back into old roles rather than letting them move on. As long as they’re doing that, they have to stop adding new characters, because then it’s just getting ridiculous – there are so many vigilantes in Gotham, all serving approximately the same purpose, that it’s a wonder someone can even jaywalk without getting stopped!

Dick has been shoved back into Bruce’s shadow, because various people refuse to actually allow the student to surpass the teacher. The pre-Flashpoint Dick was the single most beloved hero in the DC Universe. He’d grown up and had his own life going on. He was extremely competent. He learned from both Batman and Superman. Everyone respected him. He was Bruce’s first son and his most trusted partner, an older brother to the other Robins. But now? The scale has been compressed so much because writers refuse to let Bruce be older than, like, thirty five. It’s resulted in Dick being presented more like Bruce’s younger brother than his son, and all of his accomplishments going unacknowledged. He’s gotten mentors that he stopped needing years ago, and stopped having relationships nearly as meaningful with his friends from outside Gotham. It’s nonsensical. And if that’s all that Robins have to look forward to – being unable to age or grow up or become heroes of their own – what’s the point in adding more?

Robin as a legacy once hugely important. It was good for Dick’s successors, because there was a precedent set they could both follow and stray from and a person from whom they could learn. It was good for Dick, because it demonstrated just how influential he was, proved irrefutably that he’d moved on, and let him complete the cycle as a mentor rather than a mentee. But that legacy, as much as I love it, has been used about as much as it can be. It’s time to let it rest, if not retire forever.

I made a post a while back about how Chris Claremont has never moved on from a certain plot point. In it, I noted that he wanted characters to get to grow and change, but that he was writing endings in a medium that doesn’t do endings. But you know what? Claremont’s approach seems largely the way to go, when we’re talking about DC and Robin. He’s very much not a fanboy running the asylum. He wouldn’t be afraid of letting characters grow up and change and move on, even as they maintained relationships with each other. In the hands of a writer like Claremont, given the freedom to make creative choices, I might not think it’s time to put down the Robin mantle. Unfortunately, that’s probably not happening.

I love Robin. I love the concept of Batman and Robin and the idea of the Batfamily. But unless DC completely changes its approach – and soon – I don’t see a way for the mantle to continue past Damian.

“Fuck Batman”: The 7 Most Likely Characters To Call Bruce Wayne Out On His Bullshit

There was a lot of debate upon the release of the first Titans trailer about whether or not Dick Grayson would ever say “fuck Batman”. That debate lessened upon the release of the first episode, where it became clear that it sounded way better in context. But there was still a lot of people that evidently think it was out of character, judging from how many comments I saw saying that’s more something Jason would say. Personally, I think that’s nonsense and Dick would absolutely say that. When it comes to calling out Bruce and doing the opposite of what he says, Dick is the original. But he’s far from the only one.

7. Stephanie Brown
Stephanie Slaps Bruce.pngWhat an icon.

So the context of this panel is that Steph just found out that Bruce is, in fact, not dead. Naturally, she was mad, and demanded to know if all she’d just gone through was some kind of trick or game. Bruce, being Bruce (which is to say, kind of a dumbass, sometimes), told her it was a test. Stephanie…did not take that very well.

Steph and Bruce have often not gotten along, what with him frequently telling her not to do stuff, dismissing her abilities, and used her to make Tim jealous so he’d come back. So this slap was kind of a long time coming. After this, she was all, oh God, did I really just slap Batman? Bruce was more, what just happened? Then she told him she was glad he wasn’t dead, then ran off. Go, Stephanie. This was beautiful.

My point by all that rambling: Stephanie’s middle name might as well be “Fuck Batman”.

6. Jason Todd

Okay, this one’s a no-brainer. As much as I disagree with the claims that Titans Dick is more like Jason than Dick, it’s true that Jason has spent years being in a state of fuck Batman. Unlike Dick, though – and most others on this list – Jason’s fuck Batman is mainly in words, not spirit.

Jason spent a huge amount of time post revival complaining about how the Joker was still alive, how Bruce would have killed him for Dick, and a lot of other similar things. He claims he doesn’t care what Bruce thinks about what he does, but he very clearly does – he does a string of irrational nonsense for the sake of getting Bruce’s attention. He could have gone anywhere after his resurrection, but he went back to Gotham. Because unlike Dick, who felt smothered and wanted space/for everyone to see him as him and not an extension of Bruce, Jason acted out so people would look at him.

5. Commissioner Gordon

Oh, look, the guy that’s just trying to get through the day when Batman shows up and vanishes on him when he’s talking. And probably introducing quite a few problems and villains even as he deals with others. The Commissioner Gordon brand of “fuck Batman”: “Fuck Batman, here I am, doing my job and this guy insists upon being obnoxious when interrupting me”.

4. Oswald Cobblepot

Oooh, look, the one villain on this list!

If there’s a single villain that’s gonna say “Fuck Batman”, it’s got to be Penguin, just for the sake of Love Bird. It all amounted to a very sweet story where Batman spoke on his behalf and explained everything to his girlfriend, but still! Penguin was trying to go straight with an umbrella factory and help out ex-cons who couldn’t get jobs elsewhere, Bruce saw felons entering the building and burst in to investigate, and Penguin got sent back to jail for violating his parole by consorting with known felons. Come on, Bruce!

3. Barbara Gordon

Barbara Gordon, the first Batgirl, Oracle, one of the coolest heroes in all of Gotham. Also: viewed by practically everyone as a lesser version of Bruce.

As Oracle, she’s not second to anyone. She’s a member of the Batfamily, yes. She’ll work with all of them with relatively few issues. But Bruce Wayne being the control freak that he still tries to push her around, even though she’s not his sidekick, she’s his equal. So perhaps not fuck Batman…but definitely shut the fuck up, Batman.

2. Clark Kent

When it’s not Bruce’s relatives, it’s Clark that has to deal with Bruce. And as much as I love their friendship, Bruce is not an easy person to be friends with. The man keeps a chunk of kryptonite in the Batcave. The sole purpose of said substance is incapacitating Kryptonians! Clark may have nigh-incomprehensible amounts of patience, but Bruce has got to be trying even him.

1. Dick Grayson

Of course.

Dick has to get the number one slot in this list, just by seniority. Yes, technically Gordon predates him. But Dick has spent more time actually putting up with Bruce’s nonsense. Think of all the gripes he must have by now:

  • Firing him
    • Granted, this one depends on which version of continuity we’re going with, but Post-Crisis, Bruce fired Dick as Robin. Dude! Not cool.
  • Making Jason Robin without giving him so much as a heads up text
    • Sure, Dick had grown out of being Bruce’s sidekick. And I’m pretty sure Dick approved of letting Jason have the mantle pretty quickly in all versions of the story. But that was still his name! It wasn’t Bruce’s to give.
  • Constantly criticizing his decisions
  • Only singing his praises to everyone when he’s not there
    • I mean, yes. Bruce is probably less stingy with the praise to Dick than to any of
    • Only Thing Bruce Ever Did Rightthe other Batkids. But the stuff he says to other people about him is so much
      nicer, and if Dick finds out about it at all, it’s through someone else. Come on, Bruce! Rude.

And that’s not even half of it. They have a long history! So I don’t care what anyone says when they’re whining about Titans Dick being more like Jason or Damian. He’s got “fuck Batman” seniority.

World Building And Lived In Universes

When the second episode of Titans – “Hawk and Dove” – came out, one of the things I thought was that it felt like Batman v Superman. Coming from me? That’s about as high of a compliment as I can give something.

It’s strange, because in a lot of ways, they’re very little alike. Batman v Superman was a sequel, not the start of a new universe that Titans is. But they still feel similar, because they’re both set in already established worlds. In Titans, there were obviously the big details, like how Dawn, Hank, and Dick all knew each other prior to the series and the fact that Dick isn’t working with Bruce anymore. But there were the smaller things, too – Dawn’s Superman T-shirt. The photograph of what was presumably this universe’s first incarnation of Titans. Dick’s contacts list, which included not only Bruce and Alfred, but Donna Troy and Lucius Fox, as well as an assortment of minor characters – Bridget Clancy, Bonnie Linseed, Lori Elton. This is a continuation of the same pattern in the pilot, where Dick’s coworkers are talking about how he’s from Gotham, and how it’s anybody’s guess what happened to his old partner – he could have even been gassed by the Joker. That’s how everything about Gotham feels in BvS.

Like I said, Batman v Superman was a sequel. But while it continued plot points from Man of Steel, it introduced Batman as an already established hero that’s gotten much more brutal recently. He’s twenty years into his career. Losing everyone that’s ever mattered to him has left him jaded and brutal. We don’t see much of Gotham, but we know it’s a crime ridden cesspool with a pretty bad reputation. The Joker doesn’t play a role, but we know that Gotham has a history with him. Even in regards to Superman – we know how he started off – we saw that in Man of Steel. But we weren’t shown all the details of his life since then. We see the gist of it, not the details – he saved a bunch of people, moved in with Lois, is in a good place.

By contrast, there are shows like Gotham. That’s my favourite comic book show. I love it with all my heart. And it has a very different vibe. The city feels like one with a lot of history, like a city that was holding on by a thread until the Wayne murders. But the show, the characters…that all feels fresh and new. However lived in the world may be, there’s a new world order coming and a new status quo that the residents will have to live with. That’s because the show is a prolonged origin story, and over the seasons, we’ve been there for just everything that makes Bruce Wayne who he is.

We were there when he watched his parents’ murder. We were there when he failed to deal with it. We were there when he met Jim Gordon, when he met Selina Kyle and found a reason to smile. We saw him train and grow and confront villains, saw him regress and pick himself back up and start fighting crime for the first time in a world where the new phenomenon of supervillains is emerging. That’s not at all what it’s like in Titans or Batman v Superman, because they start in the middle, not at the beginning.

Sure, we see the basics of Dick and Bruce’s lives and traumas in those stories. In the case of the former, we’ll probably see more as Titans progresses. But how we see that is very different. In both cases, it’s through flashbacks, not what’s occurring in the present. More than that – with many shows and movies, flashbacks are just regular scenes set in the past, sometimes with a different colouring to indicate that it’s not the usual timeline. Not so in Titans and BvS. There, there’s a separation. Stylistically, it comes across as a memory.

In Titans, the first flashback to the Flying Graysons is from Rachel’s perspective, not Dick’s. We hear voices as echoes, we don’t see every detail of what happens, it’s more like flashes of images than a scene. And in one of Dick’s very first scenes, we see him years older wearing a costume we never saw him put on, much less for the first time, and confronting criminals who already know who he is, even though we didn’t see when he got that name. We know that he had a life before this show, one that we’re never going to know all the details of. In Batman v Superman, it’s pretty much the same thing. It’s a compressed telling. It’s stylized. We don’t hear voices or see every frame, we just hit the main points – what Bruce is never going to forget.

This particular brand of storytelling appeals to me so much – sure, it’s great to be with characters through the entire journey, but when flashbacks are a major part of it, I like not seeing all of it, or piecing it together slowly. It’s not all thrown at us at once. It’s enjoyable.

‘Titans’: Reservations Withdrawn, I’m All In

Okay, so the Netflix trailer for Titans came out a few days ago, and it’s been a really  packed week for me, so I’m finally getting around to talking about it now: it was  awesome.

I’ve gone back and forth a lot on how I feel about Titans. When it was first announced, I was both excited and apprehensive. When the initial story details came out, I was like, what? When more characters were revealed, I was all ahhhh! At the leaked set pictures, I was chanting at myself to refrain from judgement until we got something official. And when the first trailer came out, I just blinked in confusion.

My reservations were not at all about things being “grimdark” because, frankly, that’s a nonsense claim that doesn’t mean anything. They were more me being unsure of how it looked or what direction they were planning on going in with it because of how it seemed like a strange cross between the comics and the cartoon. Now that we’ve seen more – the promos, the second trailer, posters – I have more of a concrete idea of what this show is going to be like, and I can actually be excited for it.

As Batman v Superman taught me, I should never listen to reviewers, because they don’t know jack. The fact that most of them seem to have enjoyed what they saw of Titans  doesn’t actually say anything – though the fact that Collider called it “joyless” and said it was awful might actually indicate that it’s awesome. Those guys never know what they’re talking about. But the trailer, with all its indications of a found family that chooses to fight together and take care of each other? That makes me think that this is the one thing about which the critics might actually be right. Some good action sequences, compelling character interactions, and – my absolute favourite thing of all – focus on the relationship between Bruce and Dick? It looks incredible.

If there’s any problem I still have, I think it’s that as of now, I don’t really care about the characters that aren’t named Dick Grayson. Maybe that’ll change once I actually see them, but from the trailers, the parts involving Dick were the most interesting to me. At first, I figured that was just my love for Dick biasing me in his favour, until I remembered that that’s crazy – after all, how many posts did I make that were basically me blathering on for a few hundred words about how important he is and how I’m terrified Titans will screw him up? I don’t know, but it was a lot. Strange, right? I started off so wary about this show and how it was going to treat him, more concerned about him than any of the other characters, because those other characters really don’t mean much to me. I like them just fine, but they’re not Dick. And now, I’m more looking forward to seeing him than I am any other character, somehow much less wary than I was when this started out. Even if the rest of the show doesn’t do it for me, I think Dick alone will be enough to make it worth it. So I’m totally done being nervous. Now I just can’t wait.

I’m subscribed to DC Universe. I’m bouncing up and down waiting for Friday. I’m already planning on making nachos to eat while I watch. Anyone want to message me after the release so we can geek out together?

‘Aquaman’ and a Fresh Take on the Classics

So today the second trailer for Aquaman was released, and all I could think was, holy shit.

What I find most interesting is that it’s not at all pushing the idea that it’s somehow “unique”. By that I mean that when it comes to a lot of movies’ marketing, there’s a lot about what’s special about it, what it’s doing that has never been done before. Aquaman  doesn’t seem to be doing that. Instead, it’s focusing on presenting the same classic tropes we’ve seen really well.

From what we’ve seen so far, it’s a textbook example of the hero’s journey. There’s a call to adventure and a refusal of the call. There was the unusual circumstances surrounding Arthur’s birth – which may have gone a little out of vogue, but is still very much a part of the classic hero’s journey. There’s Mera acting as a mentor. There are a series of trials that they go through together. We understand the arc of this type of movie going in. It’s not about plot twists and surprising the audience with what happens, it’s about using the tools and plot elements we’re well acquainted with to tell a compelling story. It looks like it’s going to do an amazing job at that.

A hero’s journey. A protagonist torn between two worlds and deciding for himself the kind of man he wants to be. Two separate love stories that I’m sure will be great. And all of that wrapped up with spectacular visuals and a probably brilliant score. I seriously cannot wait.

The X-Men Movies And The Case They Make For Self Contained Stories

The X-Men film universe gives me a headache.

I know intellectually that I should take them in in the same way I do comic books – not worrying about the timeline, just relaxing into the story and not questioning it – but there’s something about having an adaptation, live action or otherwise, that makes that harder. Even though I know it doesn’t make sense, I find myself questioning timelines, questioning how the thing that happened in one movie ties into what happened in the previous one, trying to find in-universe explanations for retcons or inconsistencies. I get a little tired of the constant debate of how different things – even those that are explicitly not in the same universe, like The Gifted and Legion – fit into a timeline that at best can be interpreted loosely. And that doesn’t even get into how exhausting continuity lockout can be. A movie should be a complete story on its own. It should stand alone without needing to watch three other movies and read all the companion material. A multiple part story is one thing, but even then, that story should have a clear beginning, middle, and end, based on a pre-existing plan, not an endless number of instalments tacked on, because comic book movies are not comic books. Having more self contained stories, rather than pushing the idea of a “cinematic universe”, would solve all these problems.

Having a predetermined number of movies with a clear overall arc would lessen the debate of how things fit together, because there’d be a clear answer: they don’t. If it floats your boat, you could make a case for how they could, but when it comes to the actual story, the answer is they don’t. It would allow for viewers to just go in and watch the movie or the series without having to watch a bunch more movies to avoid confusion. It would allow for more creator freedom, because their work would depend on, at most, a couple other movies in a series, not a dozen of highly variable quality and comprehensibility. For the viewer, it makes it easier to just reject what you didn’t like. It seems to me like a much more enjoyable experience.

I’m sorry, but I didn’t enjoy Logan. From my perspective, it relied too heavily on existing fondness for the Hugh Jackman Wolverine and Patrick Stewart Xavier, because neither of them were very sympathetic in the film itself. It was more manipulative than well written. I didn’t like the concept, because it felt disrespectful to all the other X-Men and Old Man Logan doesn’t do it for me. And it wasn’t particularly well thought out, either, because when asked if it was in its own universe, everyone involved gave a different answer. But you know what? If it had been explicitly an separate story – with different actors, maybe, something to show that it’s a different universe – all that could have changed.

Part of the reason it bothered me so much was because of what it means for other X-Men movies. It wasn’t all of it, but it was certainly some of it, because it meant we were never going to see the original cast again. They’re never going to get the sendoff they deserve, that I was hoping for after we saw them again in Days of Future Past. So I’ve thought a lot about what it would be like if Logan were in a different universe and hadn’t slammed that door closed. In that case, it wouldn’t have turned a whole franchise into something even more annoyingly Wolverine-centric. It wouldn’t have turned the whole franchise into a giant Shoot the Shaggy Dog story where nothing the X-Men did in past movies or will do in future ones matters. It wouldn’t have presented Logan as the most important X-Man, despite the fact he’s arguably barely an X-Man and doesn’t fit at all with the metaphor for the oppressed that they’ve been since Chris Claremont defined them. Saying, hey, this is a movie about Wolverine and Professor X that has nothing to do with those other movies about them would mean it could be judged as a story, not as an entry into a franchise, on its own merits, rather than being Hugh Jackman’s swan song. In that case, we could have learned if it was actually good beyond the emotional manipulation. I might have actually liked it.

On a similar note, we have Days of Future Past. Now, I love this movie. I think it was one of the peaks of the franchise. But it also has a lot of glaring flaws. Some of these, I think, would have been fixed by making it and First Class a separate duology, or maybe even adding a third movie to put it into a trilogy that had nothing to do with any other movie. What’s one of the biggest complaints about that movie? That’s easy: Kitty Pryde being sidelined from being the lead character of the story to being Wolverine’s Uber driver. But every time that gets brought up, people jump to defending why it “had to be Wolverine”. There are two ways they use to argue this – Watsonian or Doylist. Intradiegetic or extradiegetic. In-universe or real world.

The in-universe answer is that Wolverine was the only one alive at the time they had to go back to that could handle the trip and for the way the story’s version of time travel worked, they couldn’t send someone else. For argument’s sake, let’s ignore the fact that the writers could change those time travel rules. Setting it in a separate timeline from the other movies could make that not true – boom, done, Kitty was alive in the time she needed to go back to, she could go.

The other argument for why it “had to be Wolverine” is the real world answer – people were attached to Wolverine, not Kitty, who only had about fifteen minutes of screen time in the series. So sending back Wolverine made for a more poignant story. You know what that indicates? Precisely my problem with Logan – a story that’s manipulative and relying on existing fondness for a character, rather than actually giving them an arc that we can be invested in. If DoFP was a “standalone” (though part of its own, shorter series), none of this justification for not sending Kitty would be valid, because Wolverine wouldn’t have any more history in the story. All history would have to be built in the movie itself. Every minute would have to count. And that’s how you can tell a good story from something that’s not – a good story can make the audience sympathize and root for and feel attached to the character on its own. It doesn’t need a whole preceding series.

It’s funny – the original X-Men trilogy was hugely important for the development of superhero movies. They demonstrated how great sequels to these movies could be. They very probably paved the way for shared universes as it pertains to superheroes, all of them existing together. Without them, there would be no MCU or DCEU. It doesn’t matter whether or not you love them, you have to acknowledge that they matter. But I think they also have reached a point, eighteen years in, where they make it clear that this really isn’t necessarily the best way to go. Logan  and Days of Future Past clearly demonstrate the value of standalones.

It reminds me of something that there was a lot of debate about which on Twitter recently – Zack Snyder’s comment that, in his five movie plan, he would have killed Batman. A lot of people were shocked and glad that didn’t come to pass. But I think that’s just another indication of what Snyder’s preferred method of storytelling is. And I think that method of storytelling would work amazingly for the X-Men.

Snyder believes in story arcs, not universes. He draws inspiration from various sources, blending them into one coherent story, where instalments connect to each other, but there’s also an end in sight. His movies have very little excess bulk, with every minute of footage serving a specific purpose. He makes bold choices, such as killing off iconic characters like Bruce Wayne, in a way that all Snyder fans know would be respectful and poignant. Some people were talking about how Dick Grayson could become Batman after Bruce’s death- an idea which I love, Dick as Batman is one of my very favourite things – but I don’t think that’s the point here. The point is that Snyder’s vision wasn’t more and more instalments with more and more characters that ended up all sharing the screen. It was thinking through all the details, planning ahead, and making a story that doesn’t go on forever. It’s not really a style loved by executives in this age of sequels and remakes. It’s very different from the MCU brand. But it’s fascinating to watch. It’s a beautiful style from someone that believes in self contained stories, the kind that would be perfect for the X-Men.

The X-Men movies have felt a bit like the result of a bunch of unplanned sequels being tacked on to a finished product, for no reason other than they make money. For someone that loves the X-Men and loves quite a bit of what’s in the X-Men movies, it’s kind of heartbreaking. I know they’re going to reboot. And presumably pretty soon. I just wish that when they do, it would be in a way that follows the tradition of self contained movies or trilogies, rather than the MCU brand of sticking everything together, because who cares about art when there’s money to be made.

It’s unlikely that we’re going to go back to the age of standalones any time soon. Not after the MCU has demonstrated how much money there is to be made like this. But I hope someday we do. The cinematic universe model has been a great experiment, and it was fun while it lasted, but I really would like to go back to self contained series now.