I know the Death card isn't supposed to be literal at all, but........Molly holding his breath and drawing from the deck after praying they all make it through this, wanting so desperately for the show to go on. For this haven of all "lost, broken souls" to live on.
Molly hoping for a miracle, reaching desperately for some sign of reassurance...being forced in that moment to reckon with the reality. Knowing somehow, someway, it's all over. Everything's changed--he'll change. And when this has been his only constant, all he's ever known--when he wants so badly for it all to stay the same...How terrifying must that have been, to know it all ends tonight.
He closes his eyes, takes a breath. But even as he's forced to try and reconcile with it--to accept it--even knowing how this ends. He still puts on that charming smile and takes the stage, determined to give the best damn performance he can, no matter what fate says. "The show must go on." "We must--"
I think the Moonnweaver would be proud of him. Molly still trying his best for his circus family, even if there's nothing he can do to stop any of it--
hi anon! I've definitely considered it, and I *might* eventually archive those old panels on ao3. for now, though, there's a lot about the story & and art that bothers me/would need to be improved for readability's sake, so... it's just difficult putting something together when I don't 100% stand by it anymore, if that makes sense? the au is still very dear to me, but I've improved a lot as a sequential storyteller in the three years since first drawing it!
that said, you can still read the xf au in chronological order on my twitter! I know it's an awful place for it, but that's where it was first posted and what it's best formatted for. the link for that is here if you're interested! I'm sorry in advance for how godawful I used to be at speech bubbles. you might find their order a bit confusing at times!
I also hope this goes without saying, but in case it doesn't -- please please don't reupload the au elsewhere without my explicit permission. I'd like to take the initiative myself if I do decide to move it off twitter
1.09 "I smell my flesh rotting. This is God's purpose. The not-knowing the purpose is... my portion of suffering. As long as He wills, this will be my part. To be afraid, as well.
Good night Doctor."
See in my eyes the greatest tragedy of DITF is that events were leading up to Bruce and Jason finally resolving this simmering issue between them, where Jason thought being Robin was what gave him a place next to Bruce, and Bruce was treating his, Dick, and Jason’s trauma as identical.
The thing that busts my balls about Robin Lives is that it has the broad strokes of what the hypothetical timeline where Jason lives should have.
Bruce realizes his mistake in uncritically projecting his own trauma and coping mechanisms onto his sons, growing from hyperactively empathetic into genuinely compassionate. Jason gets security (emotional security, which given that superhero comics are a story of symbols means it’s the most important kind) from the reassurance that he is loved regardless of his title as Robin and gets to really choose if he wants to be a vigilante or civilian. He gets to grow up.
That Jason doesn’t survive in the main timeline is a tragedy because instead of that emotional resolution and eventual growth we just get a teenager’s corpse and a father regressing into the worst possible version of himself.
But Robin Lives isn’t interested in any of that. It knows but it doesn’t care, because a lot of that great juicy stuff is just relegated to stray panels and background exposition.
Despite the narration being from the POV of Jason’s own therapist there’s very little description of what Jason’s actually going through at all. He gets like a few panels on one page max to voice his thoughts and the rest is what? A bunch of vague drivel about how he’s so broken and traumatized. More frequently the therapist narrator is talking about how beautifully and nobly Bruce suffers. Gimme a break!
As far as Robin Lives is concerned the most interesting thing Jason can do is be a wretch. As far as it’s concerned Jason is nothing, he’s a prop, he’s a moral landmass over which the forces of the two real main characters of this story fight.
I can’t express how much contempt I have for this story, with that ending which is clearly trying to make a Deep Statement about ~the cycle of violence~. Except if it was really invested in the point it was trying to make it’d take more interest in Jason himself as the principal subject. It would give a shit about how valuable the opportunity to heal is.
It would not have Jason get help and grow into his own as an adult, only to inexplicably become evil because what- he killed Joker so that means the moral disease transferred to him? See how stupid it sounds when I say it out loud. According to Robin Lives there’s just no hope once you’ve been Broken. You are doomed to become your abuser.
And that shallow symmetry this story forces the characters into, with Dick and Jason becoming the new Batman and Joker rubs salt into the wound. A dichotomy between those who are Good (like Bruce and Dick who respond to trauma by becoming even more pure) and those who are Weak (like Jason and -apparently- Joker, who go into hysterics and subsequently catch the disease of Evil). How OOC the characters felt should’ve been a warning to the writer that something was off, but alas!!!!
I’ll stop here now because I’m getting too heated to be coherent, but yeah I Dislike This Comic.
Okay a short little thing on Pluto. Uran and Helena are my absolute favourite characters in Pluto. Urasawa has always had amazing side characters, from Mr. Rosso in Monster to Lee Harvey Oswald and Jackie in Billy Bat to God in 20th Century Boys, but very few have tied off the emotional ends of the story like Uran and Helena.
Maybe I'm projecting here but much like myself I feel like Urasawa is absolutely obsessed with Frankenstein. And he recognizes the influence Frankenstein has on Dr. Umataro Tenma. Or at the very least, the similarities between the two. And so when he made the protagonist of one of his most popular works Monster, Dr Kenzo Tenma, he solidified that connection. Kenzo Tenma calls back to Victor Frankenstein needing to end his creation while also calling back to Japan's other famous Tenma, thus making the connection explicit. Another throughline between the three of them is that all three are father figures to their creations and have obligations to their children, though all three have varying levels of success with them.
I've only read what I like to call Urasawa's "Core Four", conspiracy minded thrillers that are essentially road trips featuring usually two main protagonists that we see the world through, Monster, 20th Century Boys, Pluto and Billy Bat. Though I still haven't caught up to Asadora and that could still possibly fit this mold, Urasawa's Core Four share a lot of themes and ideas. One of the most important being the responsibility for one's creations, whether it was Kenji Endo and the Book of Prophecy or Kevin Yamagata and Billy Bat or Dr. Kenzo Tenma and Johan, all of his protagonists could arguably be seen as someone with the need to take up the responsibility of their creations. So where do the protagonists of Pluto fit in there? That's where Uran and Helena come in.
But first, we should take a look at Pluto's themes. While I could be wrong, at a cursory glance, I feel like the general consensus towards it's themes is that it's about hatred. I don't really think that's what it is as I feel like Urasawa is more trying to show us what it is to be human and what it is to be alive. And in that, he has a hidden protagonist in Pluto. Someone who's influence snakes through the plot and isn't seen much, but without who the story's themes would remain incomplete. Pluto tackles what it is to be alive through many things, such as memory, sadness, grief, hatred, love and parenthood. But none of that works without the realization by Tenma of his own mistakes. And Uran and Helena bookend these revelations and are absolutley key to understanding that.
In my favourite chapter of the series, Chapter 37, Uran goes from person to person as she finds a way to deal with her grief and eventually comes across Tobio's grave, Tenma having left recently. It's an absolutely beautiful chapter that shows Uran's humanity and Urasawa's love for sharing these kind and soft moments. But it also sheds a light on Tenma as Uran realizes someone who was grieving has just left. Without saying much at all we realize that Tenma has finally realized his mistakes. In the process of grieving one son, he lost the other. While remembering Tobio, he let Atom go. His grief towards Tobio is clear in the following chapter, Chapter 38. All of the things he wanted Atom to be; Tobio come back to life, Tobio's ghost punishing him, Atom rejected. And Tenma could only see that rejection, and not what he had, another son.
Uran shows us very clearly what Pluto, the story, is. It's a chapter in their lives. And we've come into a story nearing the end for Tenma. And it's through the humanity of two absolutely amazing characters in their own right, Uran and Helena, that we are able to so fully understand Tenma. Despite being robots, these two characters are the most alive of everyone. They love fully and freely and are catalysts of change. Uran's vibrant and full of life in a way that really sticks out. And Helena has such depth that it's evident in every scene she's in. She's not pointed out to be made by any famous scientist so all the life she has is her own. These two represent the life of robot's more than any other characters in the series.
So it's that much more poignant when Helena finally breaks down after putting on such a strong front of everybody. Grief intersects and she brings out Tenma's sadness as well. They've both been putting up such strong fronts that it's heartbreaking to see them collapse. It completes Tenma's growth and strikes a heartbreaking contrast between the two. Tenma became the way he is through the loss of his son whereas Helena doesn't even get to remember her own loss. It makes you wonder if the grief for her and Geischt's child compounds her sorrow too.
Without these two and their grief, a large part of Pluto becomes inaccessible. Pluto is largely about death so when two characters come in who've never had a hand in the grim work of taking life, you see the world through a lens that's absolutely crucial in order to fully connect with all of the character's and their situations. Death and Grief has scarred the characters in Pluto. Time and time again they've chosen the worst path. They've chosen revenge and hatred. But Uran and Helena are different. Without them, the story is incomplete. They provide an alternative. They provide the path towards healing.
