Renee Montoya

Inclusive, alguém conhece algum lugar pra ler justiça jovem de 98? Tô procurando desde ontem e não encontro

I've been a pretty big fan of Batwoman/Kate Kane for quite awhile and I thought I'd make a reading order for her! Kate is genuinely one of the coolest member within the Batfamily, both design wise and just as a character in general.

https://archiveofourown.org/works/56098033

Summary:

When Kon died, his friends tried to bring him back. Cassie turned to a sham cult. Tim turned to science. They both failed. When Bart died, Tim and Cassie held each other back from the ledge. When Tim dies, Cassie does what she should have done the first time. She returns to her roots. She turns to the Greek gods. The Underworld. Or: Tim dies, and Cassie can’t handle it. She sets out to bring him back, Orpheus style.

https://archiveofourown.org/works/60226030

Summary:

In a last bid to try to repair her shattered relationship with her daughter Cissie, Bonnie purchases an old mansion on a hill. Cissie wants to believe that her mother has changed, she wants to believe that she can move on from being Arrowette, but it's not just houses that are haunted and sometimes the dead aren't quite what they seem. Soon after moving into the Hayes Manor, an old mansion and site of a gruesome murder that took place in 1948 Cissie finds herself befriending one of the victims and together they find something that might be more than friendship - all the while Cissie unravels the mystery of 1948 while juggling trying to be a normal teenager. Should be easy, right?

I honestly roll my eyes at 90% of fandom's "Jason is being victim-blamed" claims.

Like, I agree that the comics that try to argue Jason was a "bad seed" who was destined to meet a sticky end because of his upbringing or bad attitude or whatever are wrong and also kinda mean and dumb. But that's a Doylist problem of narrative framing, not anything that can or should be placed on any of the in-world characters.

But it's not "victim-blaming" to acknowledge that Jason got himself killed, ie, that he made the pivotal choice which led to his death. Bruce ask him to wait. Jason chose not to. If he had, he wouldn't have fallen into the Joker's trap, and he wouldn't have died. Like with Steph and War Games, it's taking his agency away to claim otherwise, all in the name of making them "perfect" victims.

It's also not "victim-blaming" to acknowledge his reasons and motivations for making that choice. Jason needs to be in control of that moment, because that's the real core of the tragedy. It wasn't inevitable, he wasn't somehow "destined" for a bad end, but his circumstances and choices combined to put him on that path anyway. It's the culmination of his rocky relationship with Bruce and Jason's own trauma and hang-ups about parents, specifically mothers, coming to a dramatic end that both plays into and deconstructs the tropes of the kid superhero genre.

To paraphrase an old John Green video, the core struggle of being a teenager is that of being pulled in many directions by the world around you, while also desiring to live fully and fearlessly and maybe a little foolishly. And the occasionally tragic thing is that, as a teenager, you are just grown-up enough for those understandable, natural desires to get you killed.

If that happens, it's not "your fault," but it is the result of your choices, and it's insulting and infantalizing to pretend that it's not.

In that regard, Jason's role in Tim's story, as the ghost who hangs over his adventures reminding him of the price he can and will pay if he makes the wrong decision, makes perfect sense. What people who call it "victim-blaming" are actually mad about is that the story isn't about Jason. It's not about his tragedy, it's about how his tragedy affected the people around him, the people who were left behind to continue on and the people who came after.

There's a smart post going around stating that one of the things you really have get used to -- or better yet, learn to enjoy -- about superhero comics is that there will be times when it's just plain not about your fav. And you will have more fun if you learn to embrace that, to enjoy seeing them in different lights and from different perspectives.

But some people can't or don't or don't want to do that, and so they get mad at the stories that aren't centered on their fav's feelings and perspective. And they use loaded psychiatry language to express that.

a cover variant from elsewhere

textless and some crops under the cut

Tumblr header of #kon el

It greatly frustrates me that #kon el kent and #kon kent are so connected with #kon el, that it is prominently displayed here.

And it is displayed prominently because of certain Kon fans can’t spell his name right, due to their lack of engagement with any source material of his character, especially his comic version (which is usually what those Kon ‘fans’ are referring too).

He only has two names:

CONNER KENT

Started as a quick sketch, somehow we are here!

I love the line “Two can keep a secret if one of them is dead” fits both Greta & Billy! I have so many thoughts about this !!!

Strix I and Strix II, Bette and Babs, are both mafia princesses whose daddies raised them to fight and scheme behind the scenes while maintaining the public image of high society. They hate each other, in part because Bette, a daughter of the well-established Kane Crime Family, looks down on Babs as the mafia equivalent of nouveau rich -- the Gordons only have the prominence they do because they're direct subordinates of the dread Owlman. Babs, meanwhile, thinks Bette is full of shit, because the Kanes may have been an established crime family, but they're now equally under the owl's thumb as "allies," and everyone knows who's really in charge.

While Strix IV, Steph, is like I mentioned in a previous post -- the daughter of a third-rate wannabe hero who despises her father for supposedly caring more about "this piece of shit city" than he ever did about her or her mother. She created her original persona to get Owlman's attention and expose her father's do-gooder schemes.

In return, Thomas gave Steph to Barbara, who uses both of the younger Strixes as her agents, controlling their actions using bomb/shock collars a'la Suicide Squad. She treats the girls as tools, and the girls treat each other as bitter rivals for prestige, with Steph regarding Cass as little more than a violent animal, and Cass constantly imagining (and sometimes drawing, as intimidation) all the different ways she could kill Steph at any given time.