Not Bruce Standing In Dick's Room Because He's Lonely

adding onto this, it’s so important to me that jason was chosen for his heart even when classist stereotypes would expect him to be naturally violent, cruel, and selfish.

he only becomes more aggressive and bitter the more time he spends as robin BECAUSE of robin. he saw all the injustice first hand in violent crime and the ineffective, corrupt system and he became frustrated. he wanted to kill two face because he killed his father; he wanted to attack the pimp because he directly saw him beating up a woman; he might have killed garzonas because he had to witness gloria’s dead body and garzonas would walk free to do that to other women, just out of america.

jason’s not naturally violent and cruel, it’s what he’s learned is the only way to protect other victims in a world that perpetuates suffering.

i know starlin is seen as the main post-crisis jaybin writer but jason writers PLEASE read collins

(pictures are from batman #409 and #411)

post-crisis batkid canonical ages

“It’s impossible to figure out comic book timelines” - people who are not me and who I cannot relate to. I have crafted this, a coherent, canon-compliant timeline. A quick preface:

This is all for the Post-Crisis (i.e. New Earth/1986-2011/Pre-Flashpoint/pre-reboot/“preboot”/best) continuity.

My main principle here is diegetic evidence from comics >>>> evidence from supplemental materiel (like calendars, timelines from secret files & origins, character encyclopedias, etc)

Second principle is that mentions of ages, birthdays > mentions of time passed > non-birthday month placements (e.g. the start of school years).

We’re going to go youngest to oldest, because it actually makes more sense that way.

Damian is 10-11 at the end of preboot.

Damian’s birthday is not given in Post-Crisis.

Damian is 10 when he becomes Robin, per Batman and Robin vol 1 #1. He is still 10 in Batgirl vol 3 #17. That is the last time I am aware of where his age is said, so he may or may not have turned 11 in the short remaining time before Flashpoint.

Tim is about 7 years older than Damian. He is 17 at the end of preboot.

Tim’s birthday is July 19th (Robin #116).

Tim turned 16 in R#116, before the One Year Later event (where, as you may guess, a year passed), meaning he is at least 17 after OYL. Tim is still 17 in Red Robin #25. Damian becomes Robins between these events, meaning Tim is 17 when Damian is 10, and they are ~7 years apart.

RR#25 is the penultimate issue of Red Robin. Coupled with the significance of an 18th birthday and the fact that we never see one, there is virtually no chance that Tim turned 18 before Flashpoint. He’s 17.

Stephanie is <1 year older than Tim. Steph is 18 at the end of preboot.

Stephanie’s birthday is not given in Post-Crisis.

Stephanie was 15 when she first became Spoiler, per her recounting the story in Secret Origins 80-Page Giant. She is still 15 in Robin #59. In between these events, Tim is stated as 14 in Robin #43. Therefore, Stephanie is older. Stephanie “died” when she is 16, per the last story in Batman Allies Secret Files and Origins, between R#116 and OYL, meaning Tim was also 16. That makes her less than a year older.

She is also one grade above Tim, starting college in Batgirl vol 3 #1, shortly before it’s confirmed by Red Robin #17 that Tim (had he not dropped out) should be a senior in high school.

Stephanie starts college in Batgirl vol 3 #1, and we have every reason to believe she is starting at the "normal” time, making her 18. Since Tim is 17 at the end of Post-Crisis, and Steph is less than a year older, she can’t be any older than 18.

Jason is 1 year, 11 months, 3 days older than Tim. Jason is 19 at the end of preboot.

Jason’s birthday is on August 16th (Detective Comics #790).

No ambiguity here! Tim and Jason are exactly 702 days apart, unless Tim was born on or right after a leap year, making it 703. We know this because Jason’s 18th birthday is on August 16th in DC#790, which occurs after R#116 and Tim’s 16th birthday, but before OYL where Tim turns 17. This means Jason must have turned 18 when Tim was 16.

Jason’s age is never explicitly said after his return. But because his birthday comes after Tim’s, and Tim is still 17 at the end of preboot, we can be completely confident that Jason is still 19.

Cass is 6 months, 21 days older than Jason. Cass is 19-20 at the end of preboot.

Cassandra’s birthday is on January 26th (Batgirl vol 1 #33).

Cass turned 18 in Batgirl #37, shortly before both R#116 and DC#790, meaning before Tim turned 16 and Jason 18. This is well after No Man’s Land, so we can be certain Tim is long-since 15 (see below cut), and since her birthday is in January, we can also be certain Jason is long-since 17. This means Cass is less than a year older than Jason.

Cass’s age is also never said towards the end of preboot, but can be estimated via Jason (via Tim). Knowing Jason is 19 and Cass is 7 months older, we know she must be 19-20 at the end of preboot. However, since her birthday is before Tim’s, we cannot say if it’s passed to be more specific than that.

Dick is probably 6 years, 4 months, 26 days older than Jason (5 years, 10 months, 6 days older than Cass). He is 25-26 at the end of preboot.

Dick’s birthday is complicated, but imo the best bet for Post-Crisis is March 20th (see below cut).

Dick’s age is extremely messy, but here goes. Dick is 19 when Bruce fires him (Batman #419) and Jason is at most 12 when Bruce finds him shortly after (see below). Dick turns 20 while Jason is Robin (Secret Origins vol 2 #13 and New Teen Titans vol 2 #18). Dick is at most 21 in Deathstroke vol 1 Annual #1, after Tim is introduced. This means Dick is 20-21 when Tim is introduced at 13. The ONLY possible way to make all those ages work is for Dick to be ~6.5 years older than Jason, ~8.5 years older than Tim.

Dick’s age is not really said after that, except the vague mention in Nightwing vol 2 #134 that the time around his 17th birthday was “almost ten years” ago. This fits with what his age should logically be based on the difference to Tim, and we can confidently put him at 25-26 at the end of preboot.

A detailed timeline, references, and explanations of what was included or had to be ignored under the cut:

Keep reading

so many fanfics- even and especially jason centric ones- revolve around this victim blaming idea that jason is just stupid and needs to see the truth aka bruce is god always right and he is always wrong and he shouldnt trust his own thoughts and intuition

there'll be a fic where jason thought bruce was a pedophile all through his days in the manor and the finale is 'jason just needed to accept that he was stupid to think that and say sorry to bruce' instead of 'an adult couldnt convince a child in his care that he wasnt going to rape him after three whole years and needs to change something in his behavior'

fic says jason comes back to gotham after bruce beat him into a coma and told him never to return and fears retaliation and the thesis is 'jason is stupid for thinking his ~family~ would ever hurt him brucie is so sorry he somehow made jason think hes not welcome here' instead of 'beating anyone near death is a severe crime and the psychological pain of that doesnt just go away when the abuser aggressor says oopsie'

fic has an injured jason not feeling safe in an unsecured home and every one of the batfamily makes him open the doors and windows and walk on a broken leg and prove they can break in without him knowing and this is heartwarming? them ignoring his emotional well being to show they care? making someone scared and hurt is good family behavior and jason is just too stupid to understand that

how does that make sense? why do we do this? what do i have to block out of my ao3 searches to not see it anymore? fics will have straight up cult like emotional manipulation played as heartwarming... this shit is so triggering to me as an abuse survivor

tag your fics victim blaming, horror, mind break, emotional manipulation, anything please i beg

being doomed by the narrative is cool and all but i like when a character is doomed just by being a fucking idiot. sorry that happened to you but it is entirely your own fault and you could have just chosen to not do all that

every time i see a post that only references a character named tim i need to do a massive double take to figure out if it’s tim drake or tim stoker

“An act of translation is an act of betrayal” (quote by r.f. kuang which is paraphrased from roland barthes) is so interesting when considering mythological retellings.

obviously ancient texts have to be translated which is to be considered in distorting meaning, but also many retellings can be seen as a more liberal translation of the original stories.

probably the two biggest examples i could use for this in homer’s works is miller’s ‘the song of achilles’ and rivera-herrans’ ‘epic the musical.’

tsoa covers a wider range of time from patroclus’ birth to achilles’ death rather than the small period of the 9th year of the trojan war like the iliad which means stretching the iliad and other myths to fit into a cohesive story. also in order to prioritise the clarity of the love story between patroclus and achilles she may have decided to cut out some of achilles’ more irredeemable actions such as the raping of his slave, briseis. it’s a betrayal to the events of the original texts, the complexity of achilles’ moral character interacting with his relationship with patroclus, and of the suffering that briseis should be seen as having gone through. however in order to fit the romanticised idea of patroclus and achilles’ love and stay more faithful to what the story would have been if told in the modern day, the shifting of the truth can be seen to some as necessary.

epic on the other hand changes also in making the story fit over a longer period of time by being chronological rather than odysseus’ tale in phaeasia telling the decade between the war and his homecoming, but more importantly it has to change its form altogether from the remains of epic poetry we have. which is almost a translation from the performances of homer played by lyre, to a written translation into english, and then finally to the adapted story back in the form of music. perhaps it may be a betrayal of homers actual words but it is arguably more faithful to how people in ancient times would have perceived the story. it captures the spirit of the tale, retaining the themes of fantasy, family, heroism, and leadership, all to the background of music. however some of the themes can’t be carried across because cultural values and practices like ‘xenia’ (hospitality) would not be understood by a modern audience. it’s a reduction of all that the odyssey considers but it’s almost impossible for us to understand or truly translate because we don’t live in their society. this can be said on a lesser level about odysseus heroism and fidelity to where his actual actions must be twisted to retain an impression close to original one intended.

translation may be betrayal, but that’s not always a bad thing. the closest way i can consider it is a cruel inevitability.

(batman #422)

as much as this story is deeply flawed, this is an interesting take on batman’s no kill rule. batman is a figure practically leading a one man war against violent crime, and being someone who holds restraint with every fibre of his being he knows he needs a system to hold himself accountable if he loses himself along the way.

despite the system’s extreme flaws maybe, to bruce at least, there is no better way for batman to define his moral limits and judgements. he doesn’t hold good account with jim gordon because otherwise he would be arrested, he could easily evade arrest; but he does it to be under the spotlight of the best representation of a possible uncorrupt legal system. the justification that he is one kill away from being a serial killer shouldn’t be the truth necessarily but it’s the worst case senario that batman must account for- the potential flaws of letting himself define what he does meaning he becomes the extremes of violent crime he is fighting against.

it’s ultimately hypocritical because batman aligning himself with the law means he perpetuates a corrupt system that causes part of the violent crime he despises and when he goes above and beyond to solve a case such as his interrogations it imitates police brutality. however, in fiction, injuries and trauma caused by batman’s methods have less consequences than the inescapable reality of murder and the reliance on corruption lets infamous rogues out of prison yet again leads to more entertainment. this meaning batman’s hypocrisy is much more palatable and justifiable on paper.

A Jason Todd Animatic- Work In Progress- I Know It’s Over; Jeff Buckley

ophelia represents who hamlet truly is whereas laertes represents who he desperately aspires to be.

at the beginning of the play, laertes is able to return to normal life after the funeral/wedding with the approval of both a loving father and claudius, an obvious contrast to the mourning, trapped, and isolated hamlet. ophelia is then shown to be similarly trapped but due to patriarchal forces, with hamlet contributing to her conflict of family, freedom, and love.

when it comes to love caused madness and duty driven vengeance as responses to grief, hamlet chooses the former whilst desperately searching the will to commit the latter. and ophelia and laertes act as personifications of this conflict with the way they naturally embody these ideas respectively. madness is therefore the feminine weakness and vengeance the masculine triumph, right? but no, things only go downhill once hamlet’s desires for revenge cause him to become impulsive in the killing of polonius, and the play’s end can be seen as laertes’ fatal error in letting his rage cloud his judgement on claudius’ scheming. because at the end of the day, whilst ophelia may die before laertes, they all succumb to their ailments of grief.

hamlet was always doomed, not because he was foolish, but because he was trapped between two false representations of mourning, the madness of remembering and the indiscriminately destructive force of revenge. and thus he infects ophelia, laertes, and, in a very shakespearean manner, makes the whole of denmark “rotten”