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Stop Killing Jason Todd

@crisis-on-infinite-batblogs

AO3 I started reading Batman comics for Jason, but I stayed for the angst and bad jokes.
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Robin #121

"Someone always grabs the cape."

I love Tim's ingenuity, but this is not the intended use case for the Safety Cape. It's for Batman to hold onto him and stop him from getting into trouble. Bruce probably utilized this method once and Tim's deep aversion to being parented kicked in, resulting in the addition of the quick-release latch.

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DC vs. Vampires #3

"You were supposed to be East of Moldoff Street."

I will always always always be a sucker for naming streets in Gotham City after past artists and writers. It's such a perfect way to memorialize these legendary creators who contributed so many iconic characters and stories that we all know and love.

These are more than just easter eggs. Giordano Avenue and Moldoff Street are just little lines on a fictional map, but these eponymous streets quite literally make up the fabric of Gotham City. They are dedicated in honor, and in loving memory to all the comic book greats who have worked to bring this city to life.

Dick Giordano worked as an editor and inker for many years, eventually serving as the executive editor of DC comics for much of the 1980's. His name appeared on countless titles and his impact on the industry cannot be overstated. Everyone loves Dick Giordano.

A name you might be less familiar with is Sheldon "Shelly" Moldoff. During the Golden Age of comics Moldoff was a prolific cover artists for titles like All-American, Action, and All Star Comics. Beginning in 1940, he became the regular artist for Hawkman and designed the costume for Shiera Sanders aka Hawkgirl.

After being drafted into World War II, Moldoff became an early pioneer in horror comics, but it wasn't until 1953 that he began drawing for Batman and Detective Comics.

When Moldoff finally arrived in Gotham City, he was working as a ghost artist, drawing stories that would be credited to Bob Kane. At the time, DC employed plenty of these artists and it was a very common practice. The only difference with Shelly Moldoff was this: DC had no idea that he was working for them.

For nearly 15 years, Shelly Moldoff drew Batman on the down low, taking money under the table from Bob Kane. In a 1994 interview he had this to say of the experience:

"DC didn't know that I was involved; that was the handshake agreement I had with Bob: 'You do the work. You don't say anything.' No, he didn't pay great, but it was steady work, it was security... which is the compensation I got for being Bob's ghost– for keeping myself anonymous."

With little pay and zero recognition, you might expect an artist to put forth a subpar effort, or at least phone it in on occasion, but that's kind of the opposite of what happened. Shelly Moldoff and an anonymous army of other ghost artists churned out tons of new characters during this period that have stood the test of time: Calendar Man, Bat-Mite, Mr. Freeze, Ace the Bat-Hound!!!

Shelly Moldoff revived the Riddler. Shelly Moldoff gave us Poison Ivy!

During the Great DC Writers Purge of 1968, many veteran writers and artists lost their jobs after demanding fair pay, pensions, and health insurance. Shelly Moldoff was among them. His final ghost-drawn story was published in Batman #199, and it would be 30 years before he worked for DC again. Moldoff passed away in 2012. He was the last surviving contriubtor of Action Comics #1.

I don't even know how to end this. Before today I had never even heard of Sheldon Moldoff. After toiling in obscurity and keeping himself anonymous for so many years, I guess I'm just glad to know that Gotham City remembers him.

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Nightwing #118

"Cat got your tongue, wise guy? Or you got somethin' stuck in your throat?"

I know that Brothers in Blood is trying to portray Jason as a psychotic serial killer, but... I think I'm kind of into that. Yes, it's violent and bloody and cruel, but Jason is totally in control. He is powerful in this moment because he does not question if the ends justify the means. His end is protecting the kids that no one else is looking out for. His end is saving every child that the Bats can't or won't. His end is making sure that no one goes through what he went through.

No more dead Robins– any means necessary.

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Batman #412

Jason's question is deflected with a lame attempt at humor, but I hope they pick this conversation up later. I don't think that religion necessarily plays a part in what Batman and Robin are doing, but I would really love to see Jason and Bruce have this conversation out of uniform.

I’m definitely projecting here, but just imagine Irish/Italian Jason being raised Catholic. And then Bruce, who’s Jewish, but hasn’t practiced since he was eight years old. Then you have Alfred who is painfully British in all things, and therefore Anglican.

Jason is going on thirteen, and he’s starting to think about some pretty big questions. He’s separated from the community that raised him, and he’s living in a religiously-diverse household. This could have been a really cool story about father/son bonding and exploring or confronting different aspects of your identity…

…but no. It was a story about a mime-themed villain at a punk rock concert : /

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Nightwing #81

"Not everything in this city is broken."

This was my absolute favorite scene from Vol. 1, hands down. Everyone seems to have given up on this city. Tim rightfully questions why they're relying on the kindness of a place known only for its cruelty. Dick is pleading- begging for someone to come through, and to show up, and to prove that they're worth fighting for. And then all the sudden someone does. The Devin. The Seeley. The Constant. Six vessels in total respond to the mayday.

Inbound... We hear you... On the way.

Not only was it a very moving scene, it was a beautiful homage to the artists and writers who have come before. It was a little love note to everyone who has helped to make Nightwing who he is. A hero, in his own right, and someone worth fighting for. Someone worth saving.

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Batman #609

The flashbacks in Hush serve to establish the relationship between Bruce and Tommy, introduce themes, and foreshadow plot points. As a storytelling device, I think they're fantastic; moreover, they stand on their own as really sweet vignettes of little tiny baby Bruce just getting to be a kid and playing with his best friend, and that's not something we get to see very often☺️

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