Absolutely Fascinated By Jim Starlins Hatred Of Robin Like… Hes Not Real, Jim. And Even If He Was,

Two Goddess OCs I made a couple of years ago that I’m planning to redesign. I have a fondness for them, but there’s a lot I could do to make them better

TW: Pedophilia

Teenagers are rarely taught the reason why they can't consent to sex with adults.

And that's because teaching them that would completely unravel our coercion-based society.

It can be difficult to explain in detail the exact reason and all the specifics in a way that they will understand. But the simplest way to phrase it is that in some cases, even when someone agrees to something and even when they appear enthusiastic about it, there's too much of a power imbalance that it's no different than forcing them. Also, having power and being abusive doesn't require a conscious expectation to be obeyed.

Imagine a world in which every teenager understood that and was easily able to call out anyone who tried to convince them otherwise.

They'd know that there's no such thing as an employee consenting to working for a poverty wage, working in unsafe conditions, working long hours, or working without taking breaks. They'd know that there's no such thing as consenting to paying a bank overdraft fee. They'd know that there's no such thing as consenting to student loan debt. They'd know that there's no such thing as consenting to medical bills. They'd know that there's no such thing as consenting to generating profit for banks or landlords in order to have a place to live and being evicted or foreclosed when you lose your source of income. They'd know that there's no such thing as consenting to a police search. They'd know that there's no such thing as a child who's okay with their parents spanking them. They'd know that being dependent on someone does not mean that you can never criticize them. They'd know that if it's considered abusive to simply play along when someone obeys, then it has to be much more abusive to actively expect to be obeyed, which many adults do to them.

And people who benefit from a society based on coercion masquerading as freedom wouldn't like that.

So instead, teenagers are taught something dismissive. They're taught that what they want doesn't matter. They're taught that they're too young to know what love is. They're taught "it's the law". They're taught things that are insulting to their intelligence, which they'll naturally rebel against.

wow. damn. i really cant believe i have to clarify this but godamn

the shit before spyral where bruce forced dick to go to spyral? that was not a spar

the fact that people believe it was a spar is insane to me. pretty sure you agree to fight each other when you have a spar. you want to spar, thats why you spar. thats a spar. a spar definitely doesn't happen right after your heart stopped and you were literally kidnapped by an evil justice league from another universe and 1. you're not in a condition to spar 2. you didn't want to spar in the first place.

and bruce didn't really convince dick to go. he forced him. 'convincing' doesn't involve physical hurt against the person. convincing someone means persuading them, and persuading means using reasoning and arguments. Reasoning does not in fact involve punching someone and throwing them across a room.

And arguably, yes, bruce did use words to tell dick why he had to go, but it was never 'can you go' it was always 'you will go'. and yeah, that's a him problem, and even if we don't touch that right now-

bruce used coercion. you can speak words all you want, but using force immediately made it coercion. that's as simple as that.

A drawing I did of Adora back in January

“Red Hood is a pimp-“ yeah, I sure hope he is!! If Mr ‘Controlling Crime’ isn’t also keeping things cool for sex workers then that’d be pretty scummy of him wouldn’t it?

There's something so incredibly shitty in the way spop characters act like they constantly have to worry about Entrapta, where she goes and what she does, when in reality Entrapta is the most capable and smart of them all. Think about it. Entrapta was able to hide from the infected robots until Glimmer and Adora found her. One could argue that was easy for her because she was in her own casle, but remember what happened in the Fright Zone?

Entrapta separated from the other princesses, she found a robot friend (Emily), even saved Sea Hawk from Scorpia and then she returned to her friends like she went to take a smoothie. All of that in a place she has never been. Of course, Entrapta also survived the fire trap that her friends thought killed her.

When Catra and Scorpia interrogated her, Entrapta set herself free from the handcuffs and even took the taiser from Catra's hands like it was nothing.

What else? Oh yeah. She also surved on Beast Island without magical powers. In season 5 she got the datas to locate Glimmer and repaired Mara's ship from space with a spacesuit she made. She also took off Catra's chip and found a way to deactivate all the chips.

The list of good things that Entrapta did is longer than Catra's list of crimes, and that's a list longer than Doofenshmirtz arms!

Now, I'm not saying that Entrapta is so talented that she doesn't need anyone and she didn't need rescuing. At the end of the day everyone needs a little help, like how Entrapta needed help to stop the infected robots and to leave Beast Island.

I'm saying that it's really unfair how Entrapta is portayed like someone who needs babysitting because she can't take care of herself, when it's clearly not like that. It would have been great if the princesses worried the right amount for Entrapta, like Scorpia did, instead of treating her like a problematic child. I have the feeling all of that was rooted in ableism and the love for the writers to babyfy Entrapta.

Who Needs Heaven? : Safe & Sound

jason todd x fem!reader

aka your daughters learn what happened to jason

warnings: nonspecific discussions on how jason died

(1) the drop-in

The sound of water splashing under toy boats and fish fills the small room.

You ring the washcloth out over the suds, Rory’s idle hands scooping up the excess. She entertains herself with the slowly dissolving bubbles between her fingers as you fill up your cup.

“Put your head back,” you tell her, nudging her forehead.

She does, squeezing her eyes shut.

You pour the cup of water over her head, combing through her hair. You refill the cup again as she pipes up. 

“Mommy,” she says with a casual lull in her voice. 

You pour it out again, making sure to rinse the shampoo at her roots, “Hm?”

Her hand comes up to wipe the stream from off her forehead, “How did daddy get that scar?” 

“Well, daddy has lots of scars,” you say carefully. “You know that.”

She shakes her head, “Littler scars. He has a big one though, right here.” 

She points up and down her torso. 

“What happened?”

You take a breath, eyes focused on the dissolving suds. “What happened…”

She continues on, “He said scars come from when you get hurt and the bigger ones are bigger hurts. How did he get such a big hurt?”

“Um...” She’s quite young to hear that story, especially coming from you. Your older daughters have an awareness of what happened, though it’s never been formally discussed. You think Mia knows what the autopsy scar is and the twins definitely know he died at the very least. You’ve been made aware that there’s been…discussions at school about who their dad is and how he one day died and then years later magically reappeared. You and Jason had decided that you would talk to them about it eventually, but only when they were old enough to not be completely traumatized hearing it.

You just hadn’t assumed that day would creep up on you like this.

You sit back, tense. “Did you ask him that?”

“No…” she says gravely. “I don’t wanna make him sad.”

You nod, trying to collect your thoughts. How can you steer away from this without attracting more questions? 

“Do you know what happened?” she asks, scanning your face.

You do your best to reset your expression to neutral.

You start without really knowing where the sentence is going, “We…we can talk about it later…”

Rory tilts her head, “Not now?”

You shake yours, “Not right now.”

That’s enough to appease her curiosity for the rest of the bath, but you know with that one, it won’t last long.

You’d gotten her dressed and sent her on her way, but your mind stayed heavy the whole time.

You walk downstairs slowly, hands still damp from the bath. As you turn the corner from the stairs you find Jason, reading contentedly by himself in the living room.

You cross the room without hesitation, climbing into the spot next to him on the couch. He doesn’t need to look up, only adjusts the position of his arm so its draped over you, pulling you into his side.

“So…” you start, “Rory was asking about your scar..”

He turns away from the book, looking at you with serious eyes. “What did she say?”

“She wants to know how you got it,” you tell him. “I didn’t tell her, but she didn’t want to ask you either.”

“Why not?” He asks quickly, face brimming with anxiety.

You shake your head, calming his worries. “She said she didn’t want to make you sad.”

He relaxes a bit at that, taking in the information.

You break the silence after a minute, quietly telling him, “I think it might be time to talk about it.”

He looks dejected, eyes on the floor. “They’re still little..”

“I’m not saying tell them everything right now, just…acknowledge it.”

“I don’t—” He sighs, “I don’t know how I’m supposed to tell them that.”

You think for a moment, nodding. 

“Tell them how you told me. Just…more kid words.”

He still looks resigned at the idea so you continue, “You know how to talk to them. Just tell them what you want them to hear. They’ll listen.”

He nods, eyes low. “Okay…”

You stand up, and he grabs your hand as you rise, pulling himself up too.

You give each other one more confirming look before calling up the stairs, “Girls? Come here.”

There’s a ten second delay before a scuttle of footsteps starts down the staircase, arriving with a low-liveliness, nearly bedtime energy amongst them.

The second you’re within sight of them, they’re keen that something’s not right.

“What’s going on?” 

“Is—”

“Everything’s alright. Nothing’s wrong,” you tell them. “We just want to talk to you for a minute.”

Your words don’t do much to ease their minds, but after a moment they slowly gather onto a single couch. They’re all squished in together and Rory’s half on top of Anna and Laine, the latter of which can barely move. Still, there’s no complaints to be heard, only an air of seriousness throughout the room. 

Jason clears his throat, though he has trouble looking at them, the easier option seeming to be the carpeted floor. 

“Alright,” he starts with a deep breath. “So my, uh, my Y scar…”

The air in the room drops the second the words are out, the girls all quiet and listening closely. You can tell this is something they’d been wondering about for a long time.

“When I was younger and I’d just started doing the, uh, special job my brothers and Bruce do…” He takes another breath, “Some things happened that shouldn’t have and I got hurt..”

“What things?” Ryan asks.

“I…I got tricked by a bad guy and…I just got hurt.”

It’s uncharacteristic for the girls to all look so dejected and serious like this. Goes to show that you were right—they do have an understanding of what happened.

Anna is the first to pipe up. 

“Did you die?”

“Anna—”

“It’s alright,” Jason interrupts. He collects himself before eking out, “Um…yeah, I-I did.”

He’s still stuck on those words and you have to silently push for him to keep talking, so as to not give their imaginations time to run wild.

He takes the hint, stuttering, “But, um, it’s complicated, but I came back and—”

Laine interrupts this time, almost teary-eyed.

“Are you going to die again?”

Jason shakes his head quickly, “No. No, honey, not for a long time.”

It’s quiet for a moment as they process, sorting through the details into something their minds can understand.

Rory looks on edge, wide-eyed, as she asks, “Are you a ghost?”

“No, sweetheart,” Jason answers calmly with a shake of his head. 

That seems to calm her anxiety more than anything else.

“Are you better now?” Laine asks. 

Jason nods, “Yeah, I’m a lot better now.”

Ryan looks skeptical at the choice of words. “How did you…get better?”

He takes a shaky breath, “Well…your mommy helped me a lot. And then you helped me some more. And now…now I’m all healed.”

None of them seem to really understand, but they accept the answer anyways.

The next question is from Anna. 

“Is the bad guy in jail now?” 

Jason only momentarily stutters in his response, but pulls it together nicely. 

“It’s not something you need to be worried about. I promise. Nothing like that’s going to happen again to me or you or anyone.” 

This appears to appease most of the concerns flying around in their heads. 

He continues, “We can talk about it more when you get older, but…

You take the queue, nodding Rory and Lainey your way. 

“Let’s go get ready for bed, okay?”

You nudge the younger two upstairs, who, to your surprise, go without resistance.

You give Jason one last glance before heading up the stairs, happy to see him much more relaxed than he was at the start of this conversation.

He’s left downstairs with his eldest three girls, each nearly bursting at the seams full of their thoughts and questions. 

Jason thumps down on the couch between them, a heavy breath following.

The trio watch him quietly for a moment before Anna speaks.   

“I know what it is,” she tells him somberly. He looks at her with more melancholia than he would’ve hoped for.

She continues, “There’s autopsies on my show sometimes.”

Right, her show. The X-Files.

Jason nods, a bit remiss at the idea that she knows.

From his other side, Ryan pipes up. 

“Did it hurt?”

He shakes his head, “No, I-I wasn’t…” 

Wasn’t alive. He doesn’t want to say that, though. 

Ryan nods, understanding anyways. “Did it hurt when you died?”

He hesitates before answering, wavering between lying to protect their minds and telling them the truth. In the end, he decides that you’re right, they can handle it in small measures. 

“Yeah. It did, a little,” he confesses. ”But like I said, that’s not going to happen again.”

From behind Ryan, Mia speaks so softly Jason almost misses her words. 

“I’m sorry.”

He looks at her, brow furrowed. “For what?” 

“That that happened to you,” she says. Her eyes are filled with an equal sadness to his and it breaks his heart. Even more so that her words are so clearly meant sincerely.

“Oh.”

It’s all he can manage to say.

He was only a little older than Mia when his life had been taken away from him and he’d been forced to reset everything he ever knew. And now, all these years later, he sits here surrounded by his children, his world that he was given a second chance to create. His children that don’t see a monster when they look at him, don’t see the scarred giant that he sees. They just see their dad. 

When they were still young they’d started getting almost excited whenever they got a scar from playing too hard because it made them more like him. It took Jason years to just bear the thought of his scars, but his girls look at them like art. Even when they know he got them in bad ways, they pour out nothing but affection. No disgust, no fear, no hate. Just love.

His eyes close and his face falls in his hands, overwhelmed by the idea of his children being such angels, despite being products of him.

“Dad? Are you okay?” 

He nods, face still covered. His voice is muffled as he says, “Yeah. Yeah, sweetheart, I just, um…” 

His words die off with little fight, and when his hands drop his eyes are red. 

Anna, who’s usually compulsed to only touch emotion with a ten-foot pole, is the first to wrap her arms around him, holding him tight. The gesture takes him by surprise, especially from her, and he tenses briefly before deflating like a balloon. Mia and Ryan are quick to follow suit, basically dog-piling over his opposite shoulder.

“It’s okay, dad. We love you. And your scars,” Ryan tells him. 

Oh, they think he’s sad.

Hell, thirteen years ago he would’ve thought he was sad. He only started to understand his feelings after his first daughter was born. He doesn’t tell them he’s not sad, doesn’t tell them that he’s crying because life slapped him around and then gave him everything he could ever want five times over. 

Instead, he just nods, pulling them impossibly closer.

who’s your fav daughter

why jason’s morality and ethics is so personally interesting is because it’s established in-universe that the system and police are corrupt. jason is a victim of the system and really, has no reason to trust it.

but that’s not the interesting part but rather, it’s the fact that he was adopted by bruce wayne. because if a system is corrupt then it must serve a certain demographic: the privileged class. and you really cannot get more privileged than bruce wayne.

and yet, it is during jason’s time as the only son of the richest man in the whole of gotham where he sees the extent of which the system is stacked against its victims. by working alongside the system, he is privy to their procedures and more importantly, he is privy to talk shop. he has now witnessed how callous they are to the people they are allegedly supposed to protect from both sides of the system.

and ultimately, jason’s death is an unreported crime and analogous of all the victims who will never be granted justice because the privileged class conceals any evidence of criminal activity to suit their own needs.

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.