I Love Reporter Billy, But Consider This: Billy Becoming An Architect To Fix The Rock Of Eternity (ROE)

I think “Mastermind” could have been a stronger episode if the trial focused on the fact that Stolas’ incompetence has led to humans discovering the existence of Heaven and Hell.

In the past, there have been alluded to consequences about I.M.P creating a commotion up top and not being careful, so why not have that finally come back to bite everyone in “Mastermind”? But, what do I mean by saying it’s the fault of Stolas, you may ask? After all, it was I.M.P who did their business without being properly careful, right?

That’s still technically on Stolas.

Alright, consider the other two times we see Hell-born doing a job up top, that being Barbie-Wire and the succubi. Both parties not only had a way to get there, but a human disguise as well. Presumably, Barbie-Wire and the succubi were given both Asmodean crystals and human disguised by their employers, because you know they’re supposed to be discreet and all. We could also assume they all got some form of training on how to act, too. Why am I bringing this up though?

It’s because Stolas irresponsibly let I.M.P have access to the living world without training or human disguises!

A high-ranking Goetia prince gave access to his grimoire, and that was all he did, presumably with an assumption they would be careful. And then in the D.H.O.R.K.S episode, he just leaves the two head agents alive! Two humans who have knowledge about Hell being a thing are just hand-waved away by him, simply stating that nobody would believe them. No wiping their minds or anything, they’re just left there!

Which comes back to bite everyone because those two had actual evidence that was believed, and now they’re working to open a portal to Hell. Even after that episode and “Seeing Stars”, Stolas doesn’t give them human disguises, even after Blitzø had asked about getting some earlier.

Tl;Dr of it all is that Stolas is responsible for I.M.P’s actions up top and them not being properly careful. Mostly because he didn’t give them the resources needed other than the book.

Ok, but how would Andrealphus know all about this?

That…actually comes with a bit of a rewrite. So imagine if Andrealphus, after Stella won’t get anything from the divorce, sends out an imp to spy and regularly report back to him about Stolas (and eventually I.M.P’s) actions through one of his tail feathers. In this rewrite, Andrealphus has the ability to see things through his tail feathers, making the fact that he’s a peacock matter in the narrative.

So through his spy (sent after the events of “Western Energy”) Andrealphus learns that Stolas gave the grimoire away to be used. But not only that, the spy sees the fight with the cherubs, as well as them leaving via portal that doesn’t look like a standard one used often in Hell, and it doesn’t look like something Heaven would use either. So the spy brings back their findings, which Andrealphus brings to the Sins. An investigation is then launched (presumably during the time period between “Apology Tour” and “Ghostf**kers”), and a lot of damning evidence is found by the agents that were sent (presumably by Satan).

So, that’s when the trial is set up, and both I.M.P and Stolas are brought in. Several things are properly brought to light, Stolas is found guilty (but I.M.P got off scott-free, a rarity in Hell), and he’s striped of his title, legions, everything. Satan states that it’s a fitting punishment, since he can’t be trusted with his former position and the responsibility that vmcomes with it. And Octavia’s still 17, so Andrealphus temporarily serves as a regent until the day of her 18th birthday. Meanwhile, the Sins go to talk about just how bad the damage is, and what they can do to fix it.

Maybe one of them suggests bringing Lucifer in, but that’s shot down by Satan, alluding to how Lucifer hasn’t gotten involved in the state of affairs in Hell for a while now.

…So that’s my vague idea for a rewrite that I think makes a better episode. What do y’all think?

Female characters who deserve better

Jason Todd has two little words for you by breaking through the fourth wall (REAL). See the entire tiktok here

Much more seriously I am sick and tired of Red Hood being used as the “I am the distraction” for Batman, for the Bat Family, even going so far as to kill him for a page because they have a portable Lazarus pit serum anyway.

And instead of being angry, hurt, after being brainwashed and willing to “kill him for his father Bruce Wayne's mission” he passively accepts everything. Easily.

I swear it seems angrier Nightwing these years than Jason-

This is not just for the last story arc, but it is in the last few years. A great character they don't know how to use.

How I would love to have even an ounce of the luck of the Daredevil character, who has amazing story arcs.

Of course all this is my personal opinion, from an incredible romantic of the character

Support me with a coffee ☕

Out of the many issues DC has with its own writing, how they use dialogue and convenient narration to manipulate audience perspective is the one that makes me question why I keep reading these comics. Obviously, this isn't limited to DC, but it is one of the worst cases I've seen.

Let's take Batman and Red Hood, for example. Comics from Jason's perspective often portray the Dark Knight as being a distant, controlling, emotionally neglectful and even physically abusive as a Father/mentor-- And before any Batman stans come for me, he isn't the only one writers do this with. Bear with me and you'll see why this is a problem.

DC almost always purposely uses this as drama at the cost of inconsistent character writing. Most have agreed that the way Bruce gets written when any of his kids are in the picture is messed up. Read enough of them and you'll notice a pattern: He does something borderline abusive, the plot progresses, and you can practically feel the writers realize this might make their cash cow Bat look bad (God Forbid.) But instead of the comics calling him out or changing his behavior, they shift dialogue to try and manipulate the narrative as if Batman was correct the whole time, and anyone not doing things his way is just wrong.

This doesn't just happen to Red Hood, but staying on him as an example, there will be a turning point in the plot where every other character involved is suddenly adamant that Jason is being immature, stupid, reckless, etc, and whatever trouble he's in was his fault to begin with, even when he's been doing things Batman's way. Heroes, neutral parties, and even villains start mocking and condescending to him, sometimes for doing the exact same thing that Bruce gets praised for. However reversibly, Batman does something just as bad (or even worse) and the narrative is that it was completely justified or the outcome is retconned/changed in his favor. Yet when this hypocrisy does get called out in comic, Bruce gives his usual edgy "Exactly, I don't want you to be like me." As if the writers are trying to look directly at the audience and say "See? He's just a flawed character! He's relatable!"

This leads to people hyper-defending every action of Batman instead of criticizing the writing behind it. "Bruce respects his kids! He says so in issue #467889999--" Just because the writers put the words in Batman's mouth doesn't mean anything when his actions don't back it up.

There's a reason why Show, don't tell is such a crucial writing rule. Portraying Batman as controlling and abusive, only to twist the narrative that he was "right all along," by

- changing the rules last minute

-having everyone verbally discredit his opponent

- emphasize how "badass and right Batman was" in every goddamn exchange

is lazy and poor writing. "I respect Nightwing," means nothing when Batman undermines him, insults him, criticizes his choices or punches him for the sake of ✨️the drama.✨️

It would be like telling the story of Snow White, where everything is exactly the same except she regularly kicks small animals, and bullies the dwarves. But the magic mirror, the Hunter and the dwarves still all emphasize what "kind and gentle Princess" she is without ever addressing her actions. Inconsistent character writing means the drama loses its effect. If your character can just sidestep their convictions for the sake of the plot, especially in a character driven story, then there is no character. A game with no rules, roles or directive isn't a game. That's why DC fanon is usually more popular, because somehow an entire fandom has managed to create more consistency than a team of writers.

My Jason Todd Rec List and Character Manifesto! (Version 3.0! Edited and updated first on 28/01/2024 and then again on 23/09/2024)

This is a fuckin mess my ghouls, but I got categories and I got opinions and who can stop me from typing em out? Certainly not @lazaruspiss who is the reason this thing got made!

The format is gonna be:

title and page numbers (No #s if I'm recommending the whole title IMPORTANT UPDATE: Each title will be a direct link to a free digital copy! Make sure you have a good adblocker and enjoy!) picture Summary and general notes My estimate of how unhinged he is in this portrayal What his morals are like; note this isn't about whether he's a protagonist or antagonist

Since cream rises to the top, let us start with:

The Creme de la Creme

The best of the best. The most fun, the most compelling, the most interesting looks into his character.

Seeing Red aka Green Arrow (2001) #69 - #72

This one really does have it all. Jason runs rings around both Batman and Green Arrow at the same time, all the while going after a goal neither of them ever truly figures out in large part because this story wasn't afraid to let Bruce be either wrong or lying about Jason's motives. It also wonderfully leverages the ways in which the Bats and the Arrows are really good foils for each other. I think I'm going to be turning over the ways these interactions went down for a long ass time. I've been really wanting to go page by page for a comparison between the way Jason treats Mia in this and the way Jason treats Tim in the Titans Tower showdown. Bottom line for this one: It's just so good!

Jason's sanity level: Six out of Ten hinges affixed. He's got a solid grip on things, is reasonably level headed, only problem is he might have completely forgotten how to interact with other human beings outside of combat. Love him for that.

Jason's moral compass bearing: Sympathetic Villain. Decidedly willing to mow down some "brain donors", and his goals are pretty morally grey, but he clearly still has a strong code of ethics.

Task Force Z

This whole comic one big love letter to Jason Todd. The author, Matthew Rosenberg, very deliberately takes time to showcase all the strengths and flaws of his character that make him so beloved. He's competent, he's mistrustful, he's determined, he's heroic and yet poses as the villain, he's human yet badass, and he holds his ground against the rest of the Bats while still clearly loving them. If I was ranking these comics purely by plot and pacing this would not be in creme de la creme territory, but it's a fantastic synopsis of what Jason is all about and if I could only give someone a single series in order to let them understand who Jason is (and I couldn't give them Under the Red Hood), I'd give them this.

Jason's sanity level: Eight out of Ten hinges affixed. He's pretty level headed, but at the same time he very clearly is way too casual about violence to be full hinges affixed - the PTSD is very apparent in him.

Jason's moral compass bearing: Antihero. His motives are understandable and firmly rooted in doing the right thing, but at the same time he is very willing to be ruthless and to kill when he feels it's the right decision. Balanced!

Pay as You Go aka Outsiders #44 - #46

Jason's role in this story is fairly small, but it's a wonderful bit of characterization for him. The way he approaches Nightwing to offer his help and the way Nightwing accepts that offer are fascinating and very deserving of your time!

Also there's gay sex and a prison breakout, like, what more could you want? Actually I suppose you could also want (what I'm pretty sure is) Roy's first time meeting Jason as the Red Hood and some really cute scenes of him and Lian, and guess what this story has got that too!

Jason's sanity level: Ten out of Ten hinges affixed.

Jason's moral compass bearing: Antihero. He's deliberately choosing to play the villain, but he's very willing to work with the Heroes and is going out of his way to exonerate an innocent man.

Batman (1940) #408 - #411 Jason's debut featuring Ma Gunn's School and his first ever outing as Robin fighting Two-Face

Just LOOK at this PRECIOUS BOY! I wanna pinch him on his cheeks and give him a handful of these bad boys

Jason has a ton of personality to him right out the gate. The first story has Ma Gunn as the villain and she's a lot of fun. The second story in here with Two-Face is also enlightening with regards to Jason's early personality, even if it's not quite as fun.

Jason's sanity level: Ten out of Ten hinges affixed.

Jason's moral compass bearing: Hero.

Under the Red Hood would be next if it wasn't already filed under ->

Foundational Texts

This is the shit that defines Jason as a character. Much is mutable in any given comic, but somehow, someway, all depictions of Jason are impacted and informed by these three stories. Enough has been said about all of them that I'm gonna keep it brief.

Red Hood: The Lost Days

(You may have heard a lot about Talia's role in this one: I would encourage you to read my analysis of her in this story and do your best to see her perspective in all this, she's a heck of a lot less villainous than people keep saying she is)

Jason's sanity level: Eight out of Ten hinges affixed.

Jason's moral compass bearing: Antihero. He kills some incredibly nasty people, while also doing some genuinely heroic shit. The only places where his morals deteriorate are in the presence of Batman and the Joker.

Under the Red Hood

Jason's sanity level: Four out of Ten hinges affixed. Remember how his morals deteriorated in the face of Batman and the Joker? Yeah, that's mostly because he's way, way too personally invested to think straight about them. He's strategic as fuck, but this is not a stable man's strategy for dealing with his issues.

Jason's moral compass bearing: Sympathetic Villain. He is a revenant, a vengeful juggernaut, and breaks an awful lot of eggs making this brilliant disaster of an omelette.

Batman (1940) #426 - #429 A Death in the Family

Jason's sanity level: Ten out of Ten hinges affixed.

Jason's moral compass bearing: Hero.

Joker becoming an ambassador to Iran plotlines count: One too many.

Solid Storylines

These ain't the vaulted heights, but not everything has to be the Sistine Chapel. They're solid, and if you're wanting more Jason I do certainly recommend them.

Countdown Presents: The Search for Ray Palmer and Countdown to Infinite Crisis (special note here: Countdown to Infinite Crisis must be read backwards, meaning you start with Issue #51 and then read down to Issue #1 and Countdown Presents isn't in chronological order and just... oh boy this storyline is a mess, but much of it is also quite good)

Jason is in what I like to call his Purposeless Depression Era during this. It's after his plans in Under the Red Hood fail and he's really just got no place to go, no place to be. He's keenly aware that on a cosmic level, he truly does not belong in this world anymore. He's supposed to be dead. There's something I find quite neat about this team up, with Donna Troy and Kyle Raynor and Bob, it's out of the ordinary for Jason, it's not bat related, and the ways he fits and doesn't fit with the other characters are just neat.

I especially recommend Gotham by Gaslight. The plot will be a lil hard to follow if you haven't read the others, but by the end of it Jason hopes to return to Steampunk Gotham instead of his own Gotham where he doesn't think he belongs, and the moments of him hoping to literally leave his universe behind are both sweet and sorrowful.

Jason's sanity level: Ten out of Ten hinges affixed. He's just sad and lonely.

Jason's moral compass bearing: Hero. Even if only Donna is willing to tentatively try to see him that way.

Robin (1993) #177 and two pages of #182 and the front half of #183

Despite how much Jason is known for it, I think this is the only time we see him trying to run organized crime outside of Under the Red Hood (and uh debatably Battle for the Cowl). Short lil string of appearances, but critical for understanding how he's seen by Tim during this era if you care about that. Also I think this combined with Outsiders #44 - #46 (further down this list) it really cemented my understanding of Jason being strangely honest and forthright.

I think a major way other Bats fail to comprehend him is that they expect him to manipulate through lying, which just isn't his style. He doesn't lie about his motives; he doesn't obfuscate his tactics; he doesn't hide how he's feeling. Hell, he doesn't even try to lie his way out of prison! I could not tell you why this series of interactions gave me this impression but it is why I have such faith that when Jason says something, he probably just means it, even when characters like Dick or Tim assume otherwise.

Pity this was the lead up to Battle for the Cowl.

Jason's sanity level: Ten out of Ten hinges affixed. He's even attempting to pick himself up out of his Purposeless Depression Era slump at the start.

Jason's moral compass bearing: Antihero.

Nightwing (1996) #118 - #122 aka Brothers in Blood aka the One Where Jason Gets Tentacles

COWARDS and KNAVES will tell you "the tentacles are so icky and everyone is so OOC" or whatever but again they are KNAVES and COWARDS because bitch this shit is GREAT

Jason: Wow! My bestest big brother killed someone who deserved it, so now I (the person he's rejecting only because I kill people who deserved it) have a real chance at being his family again!! :D Hooray! :) Dickie-Bird why don't you look happy to see me? :) Dickie-Bird I went out of my way to get us matching outfits and stalked your work and killed people in your name so it's nice and easy to make room for me in your life! :) :) :)

Dick:

Jason's sanity level: Two out of Ten hinges affixed. My mans is off his rocker and I adore him like this. Frankly, the entire storyline is unhinged, and it only feels appropriate that Jason is similarly bonkers in yonkers.

Jason's moral compass bearing: Villain. You can sympathize with him, and he is still trying to carry out justice, but I have to call it for straight villain when he's threatening to bomb a building full of innocent people.

Batman and Robin (2009) #23 - #25

I don't have much to say about this one. It's good. The above page is pretty much the highlight.

Wait actually I do have something to say and it is that I would like to lick Jason's abs, pls & thx, because the other highlight is that Winick clearly believes in redeeming Jason's value as a villain through sex appeal and it is working lmao

Jason's sanity level: Ten out of Ten hinges affixed. Certifiably sane, he's passed all his psych exams!

Jason's moral compass bearing: Villain. He threatens to bomb a train station full of innocent people. While he does do that in service of freeing himself and Scarlet, thus making it not completely self centered, I still gotta put him firmly in Villain.

Nightwing (2016) 2021 Annual

In high contrast to the previous two in which Jason acts as a villain to Dick, this one has them working together and the tentative peace and cautious trust they've got going is interesting to me. Very reminiscent of his appearance in Outsiders!

Jason's sanity level: Nine out of Ten hinges affixed. He's quite chill, but there's just this little edge to him that says his relationship to violence is a little too casual a little too deep to really be fully hinged.

Jason's moral compass bearing: Edgy Hero.

Joker: The Man Who Stopped Laughing

With Jason's return to being an antagonist after a long stint in the Hero bin comes his return to being really fucking dangerous and whip smart! My boy quotes serious philosophy that gives him a real point to make against non lethal vigilantes and cops! I also think the part where he lets himself be arrested just... it says so much and all of it is wonderfully interesting and feels fitting for his character. He's kept deeply human, and just all of this portrayal gels together really well.

Originally I had this up in Creme De La Creme because really, even though Jason isn't the star of the show, and even with Gotham War having, er, Minorly Derailed Jason's role in things, and one or two inevitable scenes where ya just have to accept that he's not as trigger happy as he should be because DC is married to the Joker - even though all of that is true, this is still a phenomenal rendition of Jason. However, with all of those annoyances and with Task Force Z being written by the same author, I decided to put it down here and leave TFZ in it's place. Basically it's got an arguably better story-line than TFZ, but contains less Jason.

Also I like that he's friends with my favorite, Stephanie Brown :3 and he and Rose's chemistry is nice. On top of all that? It's a fun comic. Like, I generally hate the Joker, but I found myself enjoying watching the Joker do his Joker things in this one.

Jason's sanity level: Nine out of Ten hinges affixed. Level headed, calm, careful, really the only reason this isn't a 10/10 is cause he's obsessively focused, which like, honestly is pretty reasonable I think.

Jason's moral compass bearing: Clearly Justified Antihero. I almost put down Hero on this one, but ultimately he is just far enough over the line with how he treats the less threatening of the rogues like Killer Moth.

Your Mileage May Vary

These stories I can't recommend without major caveats or warnings, but I still think are worth mentioning.

Gotham War (It's such a mangled mess that I'm just gonna link a reading guide. The same website that all the others are on will get you to all the titles this guide lists)

So, the main problem here is that Gotham War spans five different titles and had three different authors whose renditions of Jason do not feel cohesive or even coherent. The funny thing is though, each rendition has real merits, and while it doesn't go far enough in condemning Bruce's horrifying treatment of Jason for many people's tastes, I have to point out that it's one of the only comics to condemn an instance of Bruce mistreating Jason at all. The fact that the other Robins come to his defense is a HUGE thing! The bar may be in Hell, but it did clear the bar!

Due to how disjointed it is, I'm going to very loosely separate Jason out into two versions of himself. Think of these not as hard lines, but more a spectrum he slides across depending on what author has him that issue.

Jason Primus combines the ideas in Jason's Under the Red Hood speech about controlling crime rather than trying to stomp it out with his more Heroic modern interpretation. He's a chill, funny, smart guy whose protectiveness over the mooks is really charming.

Jason's sanity level: Ten out of Ten hinges affixed. Jason's moral compass bearing: Hero.

Jason Secundus is much more violent, not used to working with other people, and paranoid and antsy in a way that causes him to take it out on people who really don't deserve it. This is a compelling take on him, though I like him closer to Jason Primus. His trauma has clearly shaped him a lot, both for better and for worse.

Jason's sanity level: Seven out of Ten hinges affixed. Jason's moral compass bering: Anti-Hero, most of this focuses on him antagonizing two former Joker goons which kinda doesn't work well cause they're mostly scarecrow goons actually and also at one point he hurts them in a way that borderline just seems like stress relief. It's nothing worse than what we see Batman himself doing countless times, but it's still jarring because we've been made to strongly sympathize with the goon in question.

Batman: Three Jokers <- I read it while typing this up (the first version of this lol), so I got a lotta thoughts

Guh, this one is just fucking sad

So, I don't mind a story being blunt with its message as long as the message actually holds up. Unfortunately, this three parter's attempt at the cycle of violence lesson is... bad. Real bad.

Jason in it is neat! This is a good Jason portrayal somehow despite literally everything about the way this comic frames him! The narrative expects us to believe he is a danger to society on the cusp of becoming another Joker, because he *checks notes* shot the Joker dead, shot at a Joker loyal guy, and roughly interrogated an injured child abuser. At no point does he show signs of wanting to hurt innocent people. At no point does he show signs of doing any hurting without premeditation or a need to defend himself. I'm baffled by this.

My kingdom for a fucking CRUMB of nuance, I swear, smh...

I hear a lot of people hate his one sided romance towards Barbara. This is understandable as it squanders the opportunity to have a female character not be stuck as the narrative sponge for man emotions. I like it from the perspective of a Jason fan, and give condolences for the Barbara fans. It's not healthy, and good fucking job on the janitor sweeping away his letter to her so poor Babs doesn't have to deal with that shit, but I do like Jason's desperation to be loved by someone, anyone, who might show him compassion.

Jason's sanity level: Six out of Ten hinges affixed. He's sad, he's lonely, he needs some PTSD specific therapy, he's a bit creepy about his crush on Barbara, but quite frankly he has it together a lot more than the narrative would like us to believe. The way the other characters treat him like he's some kind of monster just waiting to snap and start maiming people indiscriminately makes me really uncomfortable.

Jason's moral compass bearing: Antihero. Quite frankly I'm tempted to say Hero out of spite.

Red Hood and the Outlaws (2016) #1 - #43

There are three transcendental character moments in this run that I think make it worth reading even if not all of it's your cup of tea. On the other hand though there are some big issues that could very easily be deal breakers. Oh and anything after #43 is a wasteland and #43 is included purely for the implication that being transgender made a woman immortal.

The narrative structure is really heavily dependent on rule of emotional impact/cool/allegorical usefulness. Many events will not make any fucking sense based on petty things like basic logic or the laws of physics, but they do work just fine in the area of what makes the story more fun or the emotional beats hit harder. Stronger than average suspension of disbelief is necessary for the reward of getting a lot of stuff that's, like, just really fuckin cool.

The romantic side plot with Artemis is... odd. Either the author, Scott Lobdell, intended to write Jason as a desperate loser trying to date his uninterested lesbian friend who he co-parents with, or he accidentally wrote a romance so awkward and comp-het that I cannot wrap my head around reading it as reciprocated. This works for me because I have a lot of fun reading Jason as a desperate loser who's not even actually in love with her, he just is desperate to cling to the closest thing he's ever gotten to a nuclear family and in denial about being either aro/ace or gay.

Now, lets explore a lil bit of the whole Jason is a loser angle, cause it's not the whole story, there are many points in which Jason gets to be a badass motherfucker, but he is much, much less of the hypercompetant, highly determined, murderous threat he used to be. Almost none of the newer renditions of Jason are. This Jason in particular though is very soft and cuddly, and fits the archetype of man trying to be the edgy bad boy but who secretly just wants a hug and a warm glass of milk.

If I were to describe my personal Jason in a few sentences I would say that he is someone who loves himself viciously. He feels he has been wronged and is willing to burn down the world to rectify that. He will hold your ass at gunpoint and demand the hugs and warm glasses of milk that he fucking well deserves!

This Jason is about as far away from that as you can possibly get. I still like him though, and I do not count him as being a different character, because when you start with emotional logic that goes like this:

It wasn't my fault + I deserve better = I get to burn the world down in order to get better

It becomes extremely difficult to ever stop burning the world without also deciding "It was my fault" or "I don't deserve better". Jason is meant to have changed a lot, and this is a plausible evolution of the Jason I prefer.

Finally, the handling of Bizarro, a mentally disabled character, is a sensitive enough topic that your mileage will vary, even if I can't think of a bad thing to say about it. Jason and Artemis are really pretty good about treating him with respect, giving him help where he needs it and autonomy where he's capable of taking it. They raise him, but don't control him, and he is literally like three days old when they find him so this isn't infantilization. It takes the framing of Lenny from of Mice and Men and Flowers for Algernon and rejects them in a way that I am satisfied with. You'll just have to read it for yourself to see if you're satisfied as well.

Jason's sanity level: Ten out of Ten hinges affixed. I kinda wish he was more unhinged.

Jason's moral compass bearing: Hero. He even saves a puppy and gives them pats.

Knight Terrors: Robin

Have you ever been in the mood for a syrupy sweet hurt/comfort fanfiction in which Jason and Tim were magically forced to talk about how much they like each other in order to overcome their own insecurities? Do you wish that existed as a lavishly illustrated two issue comic?

If you answered yes to those two questions then congratulations! It does exist; this is it; go have fun!

If you think that sounds like ham fisted garbage turning what should be several long arcs of serious reconciliation and deeply meaningful character moments into two issue fan service schlock then condolences! I wish you all the best in denial, as all comic fans sail that river sooner or later and I shall join you upon it someday.

What category do I fall into? Well I think this is definitely ham fisted, but I won't kick a boar out of bed as long as they ain't a bore, and this little ditty is certainly entertaining.

Jason's sanity level: Ten out of Ten hinges affixed.

Jason't moral compass bearing: Hero.

Batman and Robin Eternal

This is a decent portrayal of Jason in his modern, much friendlier, and much more bat family integrated rendition. He has some fun moments in it, and I like his staby bracers.

I don't like this comic. It commits the most dire of writing sins: Being boring. I think about Jason every second of every minute of every day; if your comic that majorly features a good portrayal of him cannot hold my attention, then something has gone very wrong. Hopefully one of you will like it more than I do.

Jason's sanity level: Ten out of Ten hinges affixed.

Jason's moral compass bearing: Hero.

Suicide Squad: Get Joker! (Content warning for suicide, skip to the hot take if this'll get to ya - also spoiler warning cuz I can't discuss this properly without discussing the ending)

A three issue miniseries in which Jason is inducted into the Suicide Squad on a mission to kill the Joker. He's highly competent as a team leader, grounded, intelligent, and uses measured violence in a way that is satisfyingly tactical. The squad they threw together honestly has some pretty neat chemistry as a whole, and the characters were appropriately messy and quite likable.

This isn't higher on the list because it thinks it earned it's ambiguous ending, and frankly, it's wrong about that. Ambiguous endings live and die by the question they make the audience sit with - It has to be worth losing out on the emotional payoff of a solid ending.

The question of "If you left Jason in a room with the Joker and a gun with one bullet, would he shoot the Joker or himself?" is a really shitty question. Like, did the authors not realize that just on a logistical level, Jason could leave the room and find a second bullet after shooting the Joker? Like, seriously, even if we accept the premise that Joker's speech got to Jason, there are no reasons for him not to choose the "both" option. The only way I can imagine this working is if the Joker is actually the fucking Purple Man from Jessica Jones using mind control.

So we exchanged the validation of literally all our protagonists' struggles/sacrifices paying off for... the vague implication that Jason unforgivably betrayed his teammates, himself, and the entire world because he was so eager to die that he couldn't wait ten fucking minutes. If I loved the Joker I might feel differently about it, but as is, I felt insulted.

This would have been Solid Storylines or maybe even Creme de la Creme if not for that implication. It's not boring though! The rest of it up to the end is honestly pretty damn good, if a bit convoluted, and much of the ending's sour taste can be assuaged by getting out a sheet of paper and doodling Jason opening Joker's head with a handgun and then going out for icecream with the team.

Jason's sanity level: Ten out of Ten hinges affixed. He's a sad, sad lad tho.

Jason's Moral Compass Bearing: Anti-Hero, forced to be much more violent than he wants to be.

A Hot Take

I bet you thought the tentacles were the hot take! HAH! MuahahaahhHAHAHAH - Prepare now, puny mortals, to witness me defend Pill Helmet Jason AND his fashion choices!

No, I am not talking about Winick's redo late in the game, we've already been over that one. I mean I will defend Grant Morrison's flop era, three foot head gear wearin, goofy ass, unwashed ass, "how to build ur brand" reading maniac

It's time to talk about Batman and Robin (2009) #1 - #6

The interpretation of one scene makes or breaks this Jason:

If you believe he is being insincere and manipulating her into putting all her emotional eggs in the basket of his crusade, ignoring her wellbeing in favor of his 'brand', then this is probably the worst mischaracterization of Jason ever written.

If you believe he is being sincere, genuinely comforting her in the only way that he's got to deal with his own trauma, giving her real affection and not pushing her to take either option with the mask because he trusts her to make that decision for herself, then this gets Jason very right.

No matter what Morrison might have intended, I choose to believe it's the latter. This is terrible advice to give a trauma victim, but it makes perfect sense for Jason to believe that about his own trauma, and thus to pass that maladaptive view along.

He doesn't try to assure her that the mask can come off safely or that he'll get her a doctor because he really can't promise her either of those things. It would be cruel to her to pretend that he's got a solution. Jason can't undo the damage that was done to her any more than he can force a dead Bruce to kill the Joker.

Instead he offers her purpose, and reassurance that she's gonna look badass if she never does take it off, and protects her when she's in trouble.

You can claim this is just him acting out his chosen Hero role, but like, WHY would he have chosen to method act that role 24/7 if he wasn't trying to BE a Hero who protects people like Scarlet? There's nothing in it for Jason to fake this.

I also think if he was being written out of character as a manipulator we would have seen him use a romantic or sexual angle which he absolutely doesn't do.

Dickie, you are such a funny Batman, they never shoulda brought Bruce back tbh.

Instead, he seems to be taking a more parental role, in a near perfect reflection of how Bruce took him in when he was a kid. Just he's doing it his way, meaning that whenever Scarlet goes further with the violence than Jason seems to want to, he backs her up instead of chastising her.

Speaking of violence and morals, Let the Punishment Fit the Crime is a coherent moral position to take, even if you (understandably) disagree with it, or disagree with what punishments fit which crimes. It's basically the same moral position as every other version of Jason there's ever been! Like, is he even killing more people than he used to in stories like Under the Red Hood? No, I don't think he is. In fact, I would argue that Morrison's Jason is significantly less violent than Winnick's overall!

The branding thing is weird, lil annoying too after a while, but ultimately it still makes sense. And brings me around to my promised defense of his fashion choices.

First of all the symbolic importance of the fact that he wears white cannot be overstated in my mind. Will I elaborate? No, this post is way too long already lmao! Second off, it's supposed to be silly. I believe the silliness was a conscious, calculated choice, and the right one to make.

Jason doesn't believe that fear works, he's not trying for pure intimidation, and he knows that he's going to have to appeal to people in his bid to be seen as a Hero. Making himself seem big but non-threatening, a bright patch in the night, makes real sense.

Take a look at this view of Jason from Scarlet's POV when he comes to rescue her from the cops after she kills her dad:

He's got a smoking gun in his hand and he just shot two cops dead, yet we're hard fuckin pressed to find him intimidating aren't we?? Cornball dialogue, and the silliest fuckin hat in the universe, because he's not meant to be from this era, he's emulating the Golden and Silver age comics and all their goofiness. He's trying to be the older, happier, sillier batman that used to exist (at least in his head), while doing what he believes is right and necessary.

The costume makes sense dammit!

Also it just doesn't look bad, I can't provide an argument for this, it's just true!!

Also also every one of these fuckers should be wearing a helmet too, this is basic brain safety, if you're gonna go around antagonizing fuckers with guns you need to make your head at least nominally bulletproof, it's that simple!!!

Also also also the fact that he had red hair in this is oft maligned, but it gives Jason an in universe avenue to express a grievance with a super important part of the way Bruce treats him in his post-crisis time as Robin - Bruce was using him as an emotional replacement for Dick.

Morrison may not have liked Jason, but he demanded that every single iota of Batman lore be treated as important canon and that means that he also treats all of Jason's history as important canon too.

Now... do I recommend you read this? (This section was rewritten on January 28th, 2024)

Yes, with significant caveats. There's a reason I chunked this in with YMMV.

First is the Batman typical ableism of just really fucked depictions of mental illness. I normally wouldn't warn for this because everyone knows most of the rogues and will be aware of what they bring to the table, but Professor Pyg is obscure enough I wouldn't expect people to know, and the way he's written just... hurts. Like there's just something about him that is painful to read as someone that's got several schizophrenic friends who are near and dear to my heart. I would hesitate to recommend it to any of them the same way I'd hesitate to recommend Silence of the Lambs to most other trans people.

Secondly this comic is Extremely Gay (a definite positive!) however it is Extremely Gay in a way that kinda requires some onboarding and analysis to properly parse and that is actually why this post was edited:

The first time I read this comic, my impression was that it was vitriolically homophobic. Considering that at the time I had heard many things about Grant Morrison, and none of them good, I went with my gut. I put here that while I would defend Jason's characterization, I couldn't in good faith recommend something so bigoted, detailed what felt bigoted, and went on with my day.

Then a while later I saw a post that I suspect was talking about this one saying something along the lines of "How the hell could you call Grant Morrison, who gave us so many of our most iconic gay characters, homophobic? The racism and such I can understand but homophobic? No."

To which my initial response was a resounding: Wha??? Like, genuinely how was I supposed to read this and not get homophobia out of it?? But I went and looked Morrison up and yeah sure enough the guy's queer so I dug deeper and mulled it over until I figured out what the fuck I was missing. So, this section is a correction and an apology about that earlier homophobia claim. Sorry about that.

The styling of this queerness are highly akin to that of the John Waters movie Pink Flamingos which I'll let Matt Baume explain better than I ever could. This guy right here is pretty much the perfect example, Hell, he's even literally named The Flamingo.

Essentially it's queerness is all aggressive, unapologetic, and designed to be provocatively shocking, which can be jarring if you're not ready to flow with it. Also he likely had to arrange a lot of things to get around censorship, same as Judd Winick did. For instance the fact that Dick spoke the same circus lingo as the troupe of Very Queer Freakshow Workers who destroy the police precinct was meant to imply that Dick is Very Queer too. Pretty sure he would've said that in a far less convoluted way if he could've.

So, with the bulk of my initial reservations about this comic disproven... I have no choice but to straight up recommend it to anyone who thinks they can jive with this vibe of storytelling!

Jason's sanity level: One out of Ten hinges affixed. Obsessive, not taking care of himself, possessed of some really maladaptive trauma coping frameworks, completely unhinged. My condolences to his mental health, but I do love to see it.

Jason's moral compass bearing: Antihero. It's weird because this is undeniably a much darker comic, and Jason certainly feels darker, but in terms of what he actually does, and what the other characters do, his violence is honestly very tame.

So, cards on the table, here is the core of who Jason is to me:

He's got clear moral motives and a drive to help as well as harm, though violence and harm are the main ways in which he tries to improve the world.

When confronted he does not back down; he does not let himself be overshadowed or silenced. He is confident in his decisions and every bit of push back is already accounted for in his head.

Everything he does is premeditated. He is not impulsive. His plans may sometimes be unhinged but they are methodically planned.

He is painfully sincere, the way fire is painfully hot.

He desperately desires love and connection, but it will take many years of constant rejection and fighting before he is willing to accept any kind of compromise to his ethics for the sake of civility.

Under all the hurt and combativeness, he's a pretty goofy guy! He's got a sense of fun and likes to be flamboyant and silly when he can!

He's a villain, a hero, a protagonist, an antagonist, and everything between the extremes. He exists as a powerful counter-thesis to Batman, and as such DC can't ever fully answer the question of what to do with him. He exists in this waffling limbo state as his morals are debated, stretched, refuted, turned on their head. I think that makes him a wonderfully fascinating character to love.

I hope you enjoyed this and, like, go have fun reading comics!

…You know what? I’ve decided something.

If ever I were somehow able to get isekai’d into the DC Comic!verse, and somehow get close enough to Jason to do this, I’d slap a sticker on his face. Like, those really awesome scratch-n-sniff stickers you could get at Scholastic Book fairs that just reminded you of the smell of books (my favorite was the popcorn). And I’d just slap a bunch of those suckers on his face. Bruce would NEVER have any of those stickers on his face! It’s not much, but eh, it’s something!

Or I’d use face paint if he’d let me. I’d make him look cool, like a dragon! Or I could just make him look silly. Let’s see him be as sad now!

Jason canonically looks really fucking similar to Bruce. During off days, he avoids mirrors and reflective surfaces because all he sees is his dad who failed him

new ebbits! new site!

Before the computing era, ILM was the master of oil matte painting, making audiences believe that some of the sets in the original Star Wars and Indiana Jones trilogy were real when they weren’t. They were the work of geniuses like Chris Evans, Michael Pangrazio, Frank Ordaz, Harrison Ellenshaw and Ralph McQuarrie ! Forever thank you, to their handmade art and the work of their colleagues, that made us dream of impossible worlds and fantastic places across Earth and the Universe.

There are more background paintings on this article, featuring comments by the masters/artists themselves ! 

Some of the following pieces were made by other artists 2:

Go watch this. NOW.