yet another reason why queer romance in media that is very subtle or more queer-coding than actual explicit rep is so much more compelling than the wealth of straight stories that are out there is bc I think a lot of romance writers forget that you have to like. show not tell. and imply things. and if you hustle things along and put two characters together for the sake of it instead of really working to build their relationship and show how well they work with each other it's not really going to be as interesting to people. and for some reason, a staggering amount of people do not know how to write romance properly so you get a very bland forced dynamic that either feels like an afterthought (he's a boy and she's a girl, hey they could be together because that's what happens!) or the only thing that matters about their characters (see her? she's the Love Interest. that is all she's there for)
however if you're being censored and you literally can't make your characters say "I love you" or kiss or maybe even hold hands you're going to have to come up with more creative ways to tell your audience that they're in love and that usually results in the most poetic beautiful stuff you've ever seen that's SO much more interesting than two characters who make eye contact and go into the slow-mo rose petals scene that's basically screaming at you "hey look at these two. they're in love. you're supposed to be invested in their relationship now. do you get it?" eye contact held for slightly too long in an emotional scene is more compelling. a hand very lightly touching their back is WAY more compelling.
and might I add this is not even impossible to achieve with uncensored straight romances at all like Pride & Prejudice is wildly popular for this exact reason. how many times have I seen people going insane over the hand flex scene. they didn't even kiss in that movie unless you count the extended ending. and everyone loves it. because it's done RIGHT.
tldr; romance is hard to write and you have to put in the effort if you want people to care about your ship. now go forth and imply something
QUICK EDIT TO ADD ALSO when things are more subtle that gives people more space to interpret the dynamic as whatever they want. something might be subtle because that's all they're allowed to show, but something might be subtle because that literally what it's supposed to be. as an aroace person I personally see a LOT of queerplatonic vibes from more subtly played relationships and it's so incredibly exciting and heartwarming for me. and that's a whole new realm of relationship that I think should also be given more attention
This is your canon reminder for the day that Dick is a nerdy li’l Shakespeare buff. <3
Scans from Batman #216 (1969), Gotham Knights #42 (2003), Teen Titans #36 (1971), and Batman #682 (2009).
being doomed by the narrative is cool and all but i like when a character is doomed just by being a fucking idiot. sorry that happened to you but it is entirely your own fault and you could have just chosen to not do all that
"I asked Grok" "I asked ChatGPT" I asked the Oracle and it told me you're going to kill your father and marry your mom
the birthday is birthdaying today, most of the problems i’ve been stressing about for at least the past month have been resolved 🙏🙏🙏
jason todd would love lady macbeth
“Jason requires an extreme act of devotion from Bruce because he thinks he’s unloved” WRONG. JASON IS LOVED AND HE KNOWS THAT.
Jason KNOWS Bruce loves him, that’s why he forgave him. You do not pluck a child from destruction and ruin because you don’t love them. You do not foster and nurture and support and raise him when you don’t love him. You do not mourn what you don’t love.
Jason knows he’s loved. He just doesn’t think he’s loved ENOUGH.
And he loves Bruce back. You can feel it reverberate and whisper in every single action, in every pulse of his vein. He loved Bruce so much it took DEATH to separate them.
But you can’t load a gun with love.
The body of a post is where Hamlet talks to Claudius. The tags is where Hamlet talks to the audience
Considering every attempt at bringing Jason Todd back as a villain (Dixon’s AU attempt in ‘96, Loeb’s Hush attempt in ‘03, + Winick’s successful UTH attempt in ‘04-5) was predicated on retconning Jaybin into someone that he wasn’t, I actually don’t think you can remove Red Hood from the discussion of how DC write Jason as a child. You can prefer one over the other if you want, but Red Hood + all his problems only exist because DC needed to villainise Jason Todd somewhere along his character history to prove that Jaybin’s death was a net positive.
The second Robin receiving an embryonic Red Hood-ification in Cheer, Robin Lives + apparently Lemire’s Robin + Batman was the whole point of Jason coming back as a Bad Guy to begin with. And at a stroke, it returns us to Marv Wolfman + Dixon’s classist victim-blaming narrative. And to their intended goal — to blatantly overwrite Jason Todd’s actual character with stereotypes to preserve the Batman + Robin power fantasy.
there’s a certain number of “bad writers” after which you just have to accept that yeahh that character is just like that now, it doesn’t mean you can’t disregard recent works but it’s canon that sucks, not a certain work or two
the day that people stop simplifying jason’s ideologies to the death penalty and punitive justice is the day i find peace