she meant it as dick used to look at her with pride. not whatever you thought. and babs *is* the original batgirl. she isn't a legacy character like the robins. batgirl is her legacy, she is the first. nothing wrong with any of that. i'm not trying to change your mind or anything, you can dislike whatever or whoever you want, but babs is one of the last ppl in dc that should be called manipulative.
Did you read how she treats Helena or no?And no,she didnt mean pride-she was talking about how sexy she was in her costume,so if she was talking about pride,she placed it in the wrong place
The way she treats Cass compared to Helena literally says that-shes basically trying to live out her legacy through Cass,cause she cant do that to Helena since Helena already has her she treated Helena like shit at first,for someone who just wanted help,but Cass-a girl who basically just does what anyone tells her-is clear to go and it sends bad vibes my way
Im not saying she evil-hell I dont even think she realizes shes doing it-but shes keep calling out Bruce for making a "mini Batman" whens shes basically trying to makes Cass what she wants,not what Cass wants
Edit:Also,bette was still batgirl first in a way first,and the fact that theres an og batgirl file and not just an Oracle file is kinda werid to me,ngl.
It’s so fucking weird seeing how there’s been a boom of Ed//ds//World fans since we grew up watching Tom//Ska instead, and in turn saw the struggles behind the scenes when he had to cope with keeping it running during its most turbulent times
It’s definitely put us off the series, but not because it’s Tom’s fault. It’s more so remembering our own personal shit with fandoms and knowing how toxic they become and personally being unable to unsee that in that fanbase. There’s also our own struggles with grief and us projecting that into that series helps since the original creator passed away many years ago due to cancer - something that traumatized Tom who was in charge of the series when his best friend passed away. It’s hard remembering how the fandom reacted to his creative decisions, and it’s hard to move on and see how well the fandom is doing now
But that’s my own little queries and troubles tbh about a series we personally never indulged in. It’s good and all, but we’re definitely not going to indulge in it for a long ass time and we much prefer to keep our distance from it and esp its fans
“...Both of these types of stories are reactions to the Industrial Revolution, and specifically the worsening of quality of life associated with that for many people. The quaint English countryside is being choked by mills and smog, and there’s public fascination with figures like Jack the Ripper, all of which come about from the increased alienation of industrial population booms. So you have on the one hand strangers and murder mystery and gaslighting. And then a reaction to that which tells stories like ‘what if a little rat and a little mole had a nice picnic in the field.’ Combining those two things is interesting, because these genres actually did grow out of the same soil. But there’s also something so interesting and dissonant about them, because of what their reactions to the culture of their origin were.” —Brennan Lee Mulligan, Dimension 20: Brennan Lee Mulligan Unravels the Mystery of Mice & Murder by Alexander Sowa
Dnd shows like Dimension 20 and role-playing games in general have become increasingly popular as the pandemic continues to disrupt people’s lives. With factors like “increased alienation” and general instability parallel to that of the Industrial Revolution, crafting a story with both the cultural reactions of an applicable time period and the format of a cultural reaction from ours is such an interesting way to explore how history and culture and storytelling all intersect with one another.
In Mice & Murder’s source material, the base reaction was a fatalistic, doomsday outlook of violence and grief and suffering, which then spawned hopeful, simple children’s stories. The cultural implications of both are still felt today (For example, spring has brought out the Peter Rabbit picture books in our house; meanwhile I am watching an adaption of The ABC Murders by Agatha Christie), but are usually kept separate in modern interpretations.
Dnd, already, is an amalgamation of these two genres’ base purposes. On one hand, dnd adventures tend to involve fighting a powerful evil—a societal injustice or a government or, most of the time, just a monster—and characters get hurt, compromise on their beliefs, and die. But dnd also has those fun, goofy, sweet moments of friendship and family that characterize the mass appeal of the game. Through improv, groups decide the balance they want of each, but it’s nearly impossible to make it through a whole campaign without one hilarious or heartwarming moment.
By purposefully calling back to opposing Industrial Revolution genres, and incorporating details of them in a format that’s having its own cultural renaissance—which already has elements of these two opposed types of fiction—the backdrop of Mice & Murder creates both a rich, comedic world, but also an important historical parallel. A parallel which is,, just,, so incredibly cool.
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