Controversial Opinion, But I Don't Think I Like Good Dad Bruce Wayne.

“batman loves his nightwing” this and “batsibs love nightwing that”, what about the batsibs’ friends / team loving nightwing ‼️‼️

YES!!! They love him!

The thing about Dick Grayson is that he has such a unique quality that just draws people in and holds them captive.

Titans (2016) Issue #26

He has a charisma that's intense. People from all walks of life find themselves just constantly looking at him for friendship, advice, love, guidance, and just something that calls them to him.

It's the impact he has on people that's astounding.

Titans (2016) Issue #27

They love him so much and they respect him so much that his absence is like a huge gaping hole in their chest. People feel lost without him because they've come to rely so heavily on him. Gar and Steel literally only joined because Dick asked.

This is something Roy catches on to and is well-aware of. He practically hounds Dick into creating the Outsiders with him.

Outsiders (2003) Issue #1

But you think Roy is the only one to capitalize on Dick's Nightwing effect? Hell no.

Titans East Special

Dick isn't just a person. He's a home. He's the guiding hand and the ship's steer control. He's special to people because he's everything they want him to be. He's their lover, best friend, brother, and partner. Whatever role they're missing in life they find it him him because he makes himself versatile enough to fill whatever they're looking for.

Dark Crisis Issue #1

We say batsibs' teams but he's the whole Justice community's everything. He fills the connections of both Batman's side and Superman's side.

He IS the most well-connected person in the entire community.

Teen Titans (2003) Issue #23

Look at what Kon says -

"Nightwing and Starfire brought wave two. Which is just about everyone whose ever been a Titan. It's a natural thing when Nightwing shows up. None of us are conscious of it, really--but we all look to him for orders. Robin's lucky."

The sheer respect. That Kon has for Nightwing is indomitable. Oh, but you think that's all?

Do you know what the superhero community says about Nightwing? Kon will tell you what they think -

Teen Titans (2003) Issue #33

The Titans (1999) Issue #39

He calls. They answer.

Hero-worship of Nightwing is canonically universal. Renaming this the Nightwing Effect

Epilson

The Titans (1999)

Red Condor

Nightwing (2016) Annual #3

Hutch

Nightwing (2016) Issue #75

Kara

Justice League of America (2006) Issue #49

Supergirl (2005) Issue #3

And sometimes this means more than friendship love but still born out of respect. It's so funny to me how Dick goes around friendzoning people.

Cassie

Even when people don't like what he wants they still do it because they respect him. Because he had an impact on them and they were were moved

Titans (2003) Issue #89

Aquaman, Ollie, John (Green Lantern)

JLA (1997) Issue #121

Kyle Rayner

Even people he's just met are like - this guy's pretty good!

Green Lantern (1990) Issue #81

Coming from a Green Lantern comic!! Not even a Wondergirl, Wonderwoman, Batman, or Nightwing writer. A green lantern!

Speaking of which, when Hal Jordon dies, a list of people are selected to be The Hal Jordon's replacement and guess who it is?

Action Comics (1938) Issue #642

Hal forces his soul back into his body and comes back to life but DC does a "what-if" thing and shows what it would be like if Dick actually became a Green Lantern.

Superman/Batman Issue #60

AND BRUCE'S REACTION!! His most favorite son combined with one of his least favorite people 🤣🤣

Superman/Batman Issue #60

But Bruce's faith in Dick actually elavtes his opinion of Hal.

ALSO!!-

Superman/Batman Issue #61

I JUST KNOW THAT BRUCE WAS WRITHING IN JEALOUSY!!

But anyway, shows to prove that no matter who Dick is and what identity he takes, he will always be the love of the hero community. Because in this world, each member is a combination of the Justice League AND the Titans.

Superman/Batman Issue #60

Yet Dick is still the center of it all.

A literal god

Nightwing (2016) Issue #49

Jon and the hero community

Justice League: Road to Dark Crisis Issue #1

"It would mean a LOT to people if you came and said--" "You're all overreacting." "We need you."

"You're all overreacting." - Clearly, this isn't the first time someone has already come to Dick about being the center of the community.

Not just by the batfam, but for everyone Dick is the most beloved person in the community. That is a fact.

I get winded by the fact that Dick and Damian fully expected to spend their foreseeable futures as Batman and Robin only for Bruce to come back and have them separate early. It was just a year but also it was spending every day and night together for a decade that just. Didn't come. Instead, Dick will tell Damian he wanted to adopt him and give him his parents' trapeze bar or Damian will feel threatened by Dick potentially having another child and try to hold onto him with all his might. It's a never ending game of chicken, both of them constantly flinching towards a future they'd already accepted, but being so insecure of what they mean to each other now that it didn't happen that they can only ever talk around it. It's clawing at someone you lost but they haven't left you. It's 'you belong to me in a way that you can never belong to anyone else but you're not mine'.

Gojo Satoru is the prime example of a character whose very existence is rooted in weaponisation. His dehumanisation is so severe that it serves as a point of origination for who he really is. And while it is a fact that Gojo, as the strongest sorcerer, cares very little for his inherent weaponisation, it still doesn’t make his character any less tragic. Canonically speaking, Gojo used his weaponisation to bring his long term goals into motion, without his dehumanisation, the narrative would be very fractured. This is why the hidden inventory arc was the rawest, most jarring arc of the entire series because not only does Gojo get a taste of normalcy but gets hooked onto it to the point that he, a weapon of the Jujutsu society, lets a mass murderer roam freely for ten years. Gojo’s weaponisation is tragic when you see it from the lenses of a viewer. Because at his very core, he is human, which is why his blue spring of youth serves as the point where the entire trajectory of the manga changes because it is when he experiences something akin to normalcy. Obviously this doesn’t take away from the fact that Gojo himself uses his weaponisation to his convenience and often asserts himself a weapon to fulfil his motives but it just gives a lot more dimension to his character. He is not someone who pities himself for being a weapon, because he has honed himself as a weapon, along with the very narrative but that doesn’t take away from his innate humanness.

From having a bounty on his head from the moment he was born to experiencing a taste of youth, to loving and living and losing and then dedicating himself to give the next generation of sorcerers the youth they deserve, to fighting and dying by the hands of the strongest. Gojo fulfils his role not only as a weapon but also a human.

zoro spending most of his waking hours in the company of the moon (himself). his vigilance when in solitude, his natural inclination to the night being a reflection of himself.

zoro sleeping with the sun (luffy). the hours he allows himself to relax and let go of his alertness. always on the deck, bathing in sunlight. his sleeping hours being a reflection of the vulnerability he allows himself with luffy, with the crew.

sun and moon zolu you have my heart

thinking about lawrence and bellini and how they think they know each other, and they do, but not without the clarity each expects...bellini's 'don't be so naive' comment comes out with such force. he's been holding that between his teeth for years. decades maybe. all the time bellini spent struggling with his ambitions, his resentments.

it's only now during the conclave that will make or break his career and redeem the course of his life, his chance to step up and take up the mantle of the dead friend he is grieving deeply. it's now that it comes out - how much he has been living like a politician.

presenting himself one way, upholding the virtues of justice and humility, enjoying his own flair in throwing down the gauntlet, listing all his ideals and principles.

add: dramatic refusal. add: dramatic exit. performing so well, even his oldest friend cannot see it. cannot see him, for who he is. and so of course lawrence's trust and belief in him cannot be true; but bellini can't help but crumble when it starts eroding.

he is a false icon and a false man. he envies what he sees of lawrence, the doubts he has which are turned towards god and not towards the church (a doubt he shared with the late pope, and can only confess to it through him, even in absence). his self-denial that keeps him safe from ambition, that makes it terribly easy to set aside as competition, makes him safe to rely on.

except lawrence has a courage bellini can't replicate. an ability to respond to circumstances and not merely react and hesitate due to the possible costly outcomes.

because he is brilliant, he can see risks so clearly, he is so deeply aware of the weight in every decision and that hinders him terribly, it is the hubris of the righteous, a self-hating sense of responsibility. who else but him should be pope?

the big test of character he faces is not a scandal with victims or a crime: it is only disappointing a friend, disappointing himself. only that. a very quiet thing happens, behind closed doors, like so many other quiet things.

lawrence breaks the papal seal. he breaks vows and promises and protocol and ritual; he broke faith with the institution they have served together for decades, and so bellini cannot hold faith with him, or the truth he is trying to bring to the light.

the truth does not, then, matter as much as the look of the thing. the risk is too great. oh, it is always too great, for aldo bellini to take.

it is only when he loses lawrence's faith, the last steady old living faith lawrence has, that bellini realizes he does not have it in him to live by integrity. what an ugly thing to know, and to learn from someone renouncing him, the one person he thought would not.

lawrence makes clear bellini's weaknesses, as he does for the rest, and bellini sees him clearly in the light of day after a night of looking at himself, and he is very sorry, and grateful to him, for being the crucible. the least of all evils, and the one who cuts closest to the bone.

he looks at the darkness inside himself and apologizes. so quickly, so simply.

bellini apologizes; he makes amends; he offers supports, upholds the mirror as lawrence did, works towards a better future. it is another day. he is a politician, and it is another day.

when they reconcile he says: it is shameful to live this long and not know himself. and it is then, because he says that, at his prompting, in the example of that peculiar courage bellini has and thinks he does not have, that lawrance admits it. he does have a name scrawled in his heart, a small ambition; he is capable of wanting, even he would rather not.

and still, bellini leads the way for lawrence. in facing his failures to live up to his image of himself, in the possibility not only of regret and shame and struggle for dignity when facing the certainty of defeat (adeyemi) or denial, incomprehension (tremblay) - but in making amends.

lawrence's old trust in him is not baseless or empty, there is love between them still, because bellini is not that good of a politician, it turns out; he doesn't have what it takes to stick it out, to pretend at a thing he cannot be.

he is too true for it. he is brave, only not in the way he sought to be thought of. a quieter thing, less emphatic, more powerful by far. he is so clearly exhausted of himself. pretending at certainty is so much more treacherous and exhausting and dangerous than doubt admitted. and humility, the scholar learns, is the only possible road for knowledge of the self and the other and the world.

don't be so naive thomas. don't be so naive. but in the morning it is bellini asking for the name john, preparing in expectation and hope for his friend the moment he would ask him the term of his papacy after being elected. he asks without resentment, and with a new belief in him, a true understanding.

a reverse-baptism, which never happens, except for how it exists between them. what is the name of your fearful desire, your sin, your hope in the midst of hopelessness, your weakness like my own?

the dangerous ones are the ones who want to be elected. but aldo bellini is the one person who says, everyone wants it. he denies the possibility for false pretenses.

and because it is his friend who speaks of it, not tremblay accusing him of it or benítez offering it freely, but aldo bellini who asks what is the shape and sound of his secret faith in himself, lawrence can admit it.

if he can forgive bellini for it, he has to forgive himself. if bellini can face what sort of man he is, so does he. and he doesn't, of course, forgive himself for it, or give himself much of any grace. but he begins to believe that is it possible others might truly know his doubts and desires, and not look away, or be appealed, betrayed, renounce him for his humanity. bellini doesn't.

they see each other clearly now. they sit on the same bench, apart from the rest of the world, secluded in friendship.

in the script, after the explosion, they walk arm in arm for the last vote.

Analyzing the WIND BREAKER Trio

TW: BIG SPOILERS FOR THE MANGA, light mention of abuse.

It’s high time I talk about the main characters of Wind Breaker, who are surprisingly unconventional. They don’t seem to fit neatly into any of the old characters' trifectas we see across media. None of them are girls, for starters, and they don't even seem to fit the classic Freudian trifecta of Id, Ego, and Super Ego. No, in this analysis, I want to talk about their unusual dynamic and how they depend on each other for what they lack in themselves. These traits being:

Sakura’s lack of social skills

Nirei’s lack of strength.

Suo’s lack of self-belief

Sakura Lacks Social Skills

The only evidence I have to cite is the entire manga. He’s no mystery. Sakura has been abused and neglected from a young age both by his parents and his old town. And by the start of the manga, he’s never been shown kindness before. And what this has created is a form of independence from society. Sakura is someone who only deigns society. Something Yamato Endo later adores about him, something Endo has only seen in one other person. Sakura doesn’t need other people, and will never bend himself to other’s will. He said so as much in his fight with Togame.

However, this virtue comes at the price of having ANY sort of common sense. He doesn’t know how to make friends. He doesn’t know how to operate a phone. It’s almost like he’s been living on a deserted island his whole life. He has no interests, no furniture.

So he needs a guide. That’s Nirei. He lets Nirei hang around him like a little remora fish because he knows that Nirei will point him in the right direction. He’s not so much a “best friend” rather he’s better described as a “foremost friend” who’s made it his personal mission to guide Sakura to the top. 

He displays a greater comfort around Nirei than he does with Suo. To Sakura, Suo is a rival and begrudging mentor to who he derives wisdom from. Now, he’s not a complete rival and foil in the way that Sugishita is, but from the moment, he sees Suo fight, he’s already dreaming of ways to have a real fight with him, but he respects him enough to plan the bridge defense while preparing for the war.

In this sense, Sakura takes motherly doting support from Nirei and fatherly challenging support from Suo. Though he would never ever admit to that. Its interesting how clinically he views both of his friends. He treats them more like social workers who’ve been assigned to him than buddies to hang out with.

Nirei Lacks Strength

At the start of the series, Nirei lacks physical and mental strength. He literally doesn’t know how to fight at all and constantly hides behind his friends. And until his breaking point with KEEL, he basically uses them as bodyguards. After KEEL, Nirei realizes that simply advising and studying others is not enough and makes an effort to at least be able to defend himself and become strong.

And to his credit he does this. By the end of the war arc. He has attained complete mental strength. When Nirei throws that punch on the bridge he has everything. He becomes a complete hero. Lacking only muscle and training. Mitsuki knows this. Suo knows this. All of them know it and are more than willing to help him grow into what will probably one day be Hiragi’s replacement. 

Suo Lacks Self-Belief

(in his own moral judgment.)

By self-belief, I don’t mean that in a confidence sense, but rather a worthiness sense. Suo is the most perplexing of the three because we know so little about him at the moment. And that’s by design, he wears a mask of impenetrable mystique.

But we can make some observations of his values even if we don’t know the details yet of how he came to them. So lets start by examining what Suo admires about his friends: Sakura’s moral conviction and Nirei’s purity. 

Suo adores Nirei’s purity and innocence, which he finds infinitely more valuable than strength. Nirei doesn’t have a bad bone in this body. The concept of doing something evil has never once crossed his mind. Even after years of being tormented by bullies, one would expect him to go on a revenge arc. But NOPE. He doesn’t even consider it. He’s more concerned about his sick friend or helping an old man he barely knows find peace. As far as Suo is concerned, Nirei is the perfect one and has the most potential of the three because he's already mastered what Sakura and himself lack. Morality and social grace are harder to acquire than muscle. 

In Sakura, Suo sees a champion who can carry his moral convictions like a banner. He says as much before challenging Minoru to a “fight”. 

Time and time again, he reiterates that Sakura is bound to surpass him. But he never means it in reference to combat. In fact, by that point, he hasn’t even seen Sakura have a real fight. And later on, he says it again, when Sakura is able to get a handle on his rage, whereas Suo wants to beat an opponent while he is down. The guy who hurt someone they both deeply cared about.

What he sees in Sakura is a moral conviction that he lacks in himself. At the time I am writing this we know shockingly little about Suo. About his backstory, his master, his Chinese fashion taste, his eye. And neither do his allies. But have clues. We see him refuse to eat with the others, claiming to be on a diet. It was disrespectful of him to not eat anything at that leadership summit, so he had to have a bigger reason. Consider the other character who refused to eat in the story, it becomes more obvious he may have a guilt complex.

What this points to is that Suo has a history. He’s done bad things in the past and now feels guilty and undeserving. His solution is to not find moral clarity in himself but to surround himself with those who can. It's an issue he's going to have to deal with at some point.

What to do with these three?

Looking back, you begin to notice that the nature of their friendship starts out as very transnational. Sakura needs social guides and barely considers them friends at all. Nirei uses his friends as protection and role-models to get stronger. And Suo uses his friends as a way to outsource his moral compass.

But it didn’t stay that way. Sakura starts fighting with others in mind and even plays games with Nirei; who becomes a real fighter just like the others with the help of Suo, who trusts himself enough to become a teacher after being inspired by Sakura. They inspire each other and grow. That’s normal for Shonen. But this strange dynamic is something I find peculiar, breaking the mold of what i’d expect from a heroic trio. It's all very refreshing.

I get emotional thinking about how his family would react to Bruce's change if he ever started working on himself, on improving his behavior. But the one I think about the most is Dick Grayson.

Alfred is the one who was there from the very beginning, but Dick Grayson is who arrived and made the biggest impact. He's the first kid who Bruce took in, the one who approached this man and became his first partner to fight by his side out in the night.

Dick was able to pull Bruce out of the darkness that consumed him. No matter how many times Bruce went back, Dick's presence was a constant reminder that there's not only shadows. That if Bruce pushes back, fights so he won't be dragged down, he will find light.

However, it was a cycle. Dick would get him out, but Bruce would go back, sooner or later. And repeat. And Dick realized this and knew he couldn't let that be his whole life. But despite the distance, it still affects Dick knowing he can't find a definite solution for Bruce.

So, seeing Bruce actually change, get better and seeing that last...it would lift the heaviest weight on Dick's shoulders, who's felt responsible for Bruce's emotions since the day he became Robin.

It's been implied to him that Bruce needs him, that he's who keeps him from falling. And Dick, despite not always feeling like he is enough, carries with that responsibility because, deep down, he also feels like he owes it to Bruce, who Dick has needed (still needs) present in his life, too.

Bruce getting better would be like being able to breath again, but it would be so suffocating too.

Dick would happy for Bruce, for the man who raised him. He'd be relieved that the hurt will stop, for both his father and those he's continuously pushed away. But then he'll be anxious, will it really last? How long until he can be sure? And he'll be scared, does he still need him, now? Does a Batman who's gotten help still need Dick Grayson Robin? Nightwing? And lurking in the back of his mind, there'd be anger. Why now? Why after all those years? Why not before? Was Dick not enough reason to change? Was he never worth this? And shame will drown those thoughts. It's selfish, to think that way. He should be happy. He wants to be happy. He is happy. But he is also mad. He's sad and he mourns the child who never saw this side of Bruce. And most of all, he loves. He loves Bruce too much to hate him for it. No matter how angry, no matter how hurt, he loves his father and he's grateful for him, for his efforts. And all he can do is smile and congratulate him because that's everything he feels he has the right to say.

And when all is said and done, Bruce will come to him and Dick will have to face the worst part of this change;

Apologies.

If Bruce has truly changed, then he would know there's more things than he can count with his fingers that he has to apologize to his son for. And out of everything else, this is what Dick Grayson fears the most.

Dick can take it, he can hear Bruce out, but he can't unpack all the pain he's been accumulating in front of his dad. He can't bring himself to say 'I forgive you' out loud despite having convinced himself long ago that it's alright.

Bruce doesn't didn't do apologies. Things happened and then went back to normal and Dick was okay with that. He forgave him, he did. So, Bruce doesn't need to apologize, he doesn't have to make him say it out loud. He can't tell him, but he's forgiven him long ago. Even if it hurt, even if he was still resentful sometimes, even if he wanted to yell at him for it, Dick could push it all down and forgive him. Bruce shouldn't apologize, shouldn't bring it up again because Dick isn't strong enough to keep it all bottled up if Bruce starts acknowledging it, if he confirms that Dick wasn't crazy for feeling wronged and hurt.

He can take it, but he really can't.

Just thinking about it drives me crazy because, out of everyone, Dick Grayson might be the kid who's been waiting for this the longest, and who thought he'd already given up the idea of his father finding a lasting happiness that would bring permanent change in him. And it would be just so overwhelming.

Can we all just take one second to admire this giant brute of a man hyping himself up after being the first person to get an exclusive interview with Dick Grayson? Clark Kent, you are so loveable.

Superman: American Alien #4

Nobody notices anything. So, there's nothing to notice, right?

Even Cass doesn't notice anything when she sees him. He's the same old Dick Grayson. He smiles and jokes. Of course, he's a little irritated about being in the mansion for no reason other than the fact that they had to meet at least once every few months, but he's fine.

Damian updates him on his school, and Dick rolls his eyes and grunts in between comments, knowing that the already outdated education system even in his time remains exactly the same now.

Tim asks his opinion on some programs he's developing. He may not be as good as Barbara's, but Tim knows Dick will easily spot the mistakes he doesn't after having read the lines of code five hundred times. Dick notices the errors just as he thinks (when you are learning the code for the first time, it is easier than when you have it in your head and recite it by heart rather than read it).

Only God knows why Jason is still there—maybe it's the food, maybe he's waiting for something. They barely speak to each other so as not to start fights, but they joke around, which is enough to keep the atmosphere comfortable.

Cass asks when they'll cook together again. Duke wants to join in this time.

Everything's fine. There's nothing wrong with Dick.

They decide to train before everyone goes back out on patrol in their places, Dick and Jason will soon disappear from the mansion and won't return for months, so why not?

Everything is fine, Dick is still joking around with them. There's nothing wrong.

Until the first moment he steps into the training area, he suddenly kicks a mannequin so hard that it literally breaks its neck and the doll's head flies off.

Oh... He's angry.

today i am thinking about zoro and luffy both having two constantly depicted scars. one on their eye each and one on their chest each. so intrinsically intertwined they have matching mortal wounds.

and i know it’s silly, and coincidental, but i like to think it symbolises them understanding each other more and more as time passes.

zoro got his chest scar clambering and falling on the way to his dream, being defeated by mihawk so easily then swearing to never lose again. and luffy who got his chest scar clambering and falling in a different way. they understood ultimate defeat respectively, loss and something that hit, quite literally, over the heart. their chest scars are their most important reminders of strength, the need for it. and loss, the need to avoid it.

and then luffy, who’s eye scar is a self-inflicted wound as he tried to convince shanks he could be a pirate too- he was strong enough. and zoro who got his eye scar during the timeskip, in a way we still don’t completely know, in the height of his self loathing for not being strong enough. they both got the scars around their eyes for the future ahead of them, and in trying desperately to get there. luffy asking shanks to take him onboard, and zoro asking mihawk to train him. the scars around their eyes are ground zeroes, an ask, a plea, complete determination.

one piece started and zoro quickly learned to understand loss, knew loss, while luffy would learn loss so deeply in marineford. one piece started and luffy understood the need helpless desperation, growing up with shanks refusing him. and zoro learned that later, so horribly, after thriller bark turned into the sabaody incident turned into marineford where he couldn’t do anything.

zoro and luffy understand each other so completely, they’re soulmates. but there are still parts of themselves which are obscured, different, simply because they are two different people with two different histories. and those things that are missing come with age, experience or being together. they understand one another more each day, somehow that’s possible, and i think their scars are a good example of it. them learning things which they may not have understood before, connecting to parts of each other they may not have connected to before.