They’ll kill us if they can, Bruce. Every year they grow smaller. Every year they hate us more. We must not remind them that giants walk the earth.

gabzilla-z:

unharbinger:

avatarmaxine:

Well done, Tom DeFalco.

I think this is one of my biggest problems with the way Babs has been handled in the New 52.

Kim Yale and John Ostrander were motivated to redevelop the character of Barbara because they were so disgusted by the way she had been so sickeningly fridged in The Killing Joke. In telling the story of Babs overcoming both physical and emotional trauma to find for herself a new mission and purpose, they ensured a lasting place for Barbara Gordon in DC Comics, not as “the Batgirl the Joker shot”, but as Oracle, the indispensable hacker and info jock, leader of the Birds of Prey and mentor to various young vigilantes.

But in the DCnU, all of that’s been lost. Barbara Gordon is once again “the Batgirl the Joker shot”. It’s constantly being shoved down our throats. Barbara struggles with her survivor’s guilt! Barbara battles post-traumatic stress! Barbara comes face-to-face with the Joker henchman who stood by and watched her get shot! Barbara’s mother is abducted in a Killing Joke-style scenario! And now, oh no, the Joker is back and Babs will be forced to confront the man who crippled her!

I mean, Christ, am I the only one who’s sick to death of The Killing Joke already?

Rather than being a bold step forward for the character, the decision to “cure” Babs’ paraplegia in the reboot has been one gigantic step back. We assume that, whether or not she actually took the name Oracle (which seems to have been given to some evil alien or some nonsense), she served in a similar capacity, using her techno-savvy to target crime, but she went through none of the character development that came with that in the preboot chronology.

She’s no longer the woman who overcame so much to forge a new identity for herself; who served with Batman, the Suicide Squad and the Justice League; who stayed to fight for Gotham during No Man’s Land, who formed and led the Birds of Prey, who trained two Batgirls, and who throughout all of this proved herself to be a truly formidable crime fighter and an incredibly strong person.

She’s that Batgirl who got shot by the Joker.

And my bet is DC’s not going to let us forget it any time soon.

:(

spookycaptainkock:

livindavidaloki:

Billionaire Playboys Out on the Job:

Stark asks why Bruce insists to keep his identity as secret

This makes me really happy. C’:

“There you go with the voice again.”

yes, thank you!!!!

miss-mgann:

discowing:

Superman/Batman #63 was your standard MOTW standalone issue, with a twist in the end: it turns out it was all a simulation run by Batman.

Let’s take a closer look at his folder:

Apparently “World’s Finest” were all just Batman’s simulations. The fact that Batman apparently plays his homemade Sims is hilariously adorable in itself, but the selection on his screen is just making me cackle.

WORK FILE CODE #WF71 - TAG ‘DOUBLE’

After seventy issues of World’s Finest being separate Superman and Batman and Robin stories published in one book with them only interacting on the covers (which were… something else), issue #71 was the first one to finally feature a team up, “Batman’s desperate and breathtaking effort to protect the Man of Steel”… from Lois discovering Superman’s secret identity. 

WORK FILE CODE #WF128 - TAG ‘TRANSFORMED’

World’s Finest #128 was one of those baffling, bizarre Silver Age stories where Batman is hit with a ~plot device~ and transforms into stuff. Including a buzz saw. Yes, this is Bruce’s imagination: he’s preparing for the eventuality of turning into a buzz saw. Or just fantasizing about Superman holding him while he vibrates, IDK.

WORK FILE CODE #WF215 - TAG ‘SUPER SONS’

If you’ve been reading my blog, you’re very familiar with Clark Jr. and Bruce Jr., their groovy asshole sons. World’s Finest #215 was their first appearance.

WORK FILE CODE #WF289 - TAG ‘THE KRYLL WAY OF DYING’

The (in)famous World’s Finest #289. Is something Batman came up with. That’s just amazing.

I posted panels from this issue many times, but the plot is so incredible that I have to summarize it to convince myself once again that it happened. Mind you, I’m not exaggerating here AT ALL, just retelling the issue:

So! Superman is feeling down, and since he’s so attuned to Batman’s feelings, he senses that his friend isn’t in high spirits either, so he drops by the Cave to invite Batman for a sleepover at the Fortress “to share their burden”. When they arrive, they talk, the panel below happens, and then they proceed to stand like that for some time, looking at each other with “naked feelings”. Then! A meteor crashes near the Fortress and it turns out to be full of tentacle aliens who feed on human emotion. The tentacle aliens had been drawn to them BY THE INTENSITY OF THEIR FEELINGS, and after communicating that to Superman and Batman, they proceed to mate. Batman and Superman just stand there and watch tentacles have sex with other tentacles. When they’re done, the tentacle aliens decide to die because the only way for them to live would be to drain the whole Earth of emotions. Superman and Batman are extremely touched by this, and I quote: “Glowing with the returned auras of emotion, the two men weep… then turn and embrace over the ashes of feeling, the dust of the sacrifice. Here it is warm… outside it’s bitterly cold. Perhaps on one else, on any world, would understand. End.”

And in-universe, this is a thing that Batman wrote. That came from Batman’s head.

WORK FILE CODE #WF11100 - TAG ‘TERRY’

This obviously has something to do with Terry McGinnis, but I can’t think of anything specific those numbers could be referring to. If anyone has any ideas, let me know.

the idea of wf being broose’s sims kills me

brain-food:

This is How You Paint a 150 Foot Tall Batman
by Irene Gallo

315 Park Avenue South is exactly halfway between my apartment and the Tor offices. For nearly two decades I’ve watched an anonymous group of painters create 150 foot movie poster murals on the side of the building.

I’ve always wondered how they construct the image and what it might look like from up close while it’s being put together. It’s one of the only places where advertising is still painted — it’s an original work and it changes up about once every six weeks. I even joked that one day I would sit outside the building all day and wait for the crew to come out.

Fortunately, I didn’t have to resort to stalking. As luck would have it, I ran into Dan Cohen, one of the principle painters at Art FX Murals, at the Illustration Master Class, who was able to fill me in on the process of how one paints a huge Batman (or a huge anything) on the side of a building.

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