at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"
like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.
"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."
... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.
and i'd still keep writing.
i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.
i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley
"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"
and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.
it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.
you create because you're greedy.
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AU where Jason comes back to Gotham and begins his plan to confront Batman and all that. Except after only like a week the Joker gets hit by a bus and then shot by a little old lady with a shotgun and dies.
Jason’s plan is now in shambles because the dramatic climax of his plan is no longer possible. But that’s fine. He’ll think of some other suitable alternative. Granted, it’s not quite the same if he uses some other villain. Making Batman choose doesn’t mean nearly as much when it’s not about the person who killed him.
And really, is he going to try and get Batman to kill Black Mask or something? Scarecrow? Red Hood is competent; he could do it himself so why bother.
So Jason lays low continues to build his criminal empire with astounding speed and efficiency. If only he could think of a good way to announce his return. Nothing he can think of is dramatic enough.
Meanwhile, the Bats are freaking out because who is this guy that’s taken over half of the Gotham underworld in like a month? He’s obviously trained, but they just can’t seem to get any information on who he is or where he came from. It is beyond frustrating.
After a few months Jason is frustrated that he just can’t seem to find any dramatic good way of making Batman prove himself. It has to be something big! Something magnificent!
During his weekly chat with Talia he complains about his problems and she suggests he come back for a visit. He argues that he can’t just leave, but she says if he has competent enough lieutenants it’d be fine. He spends the next three weeks making sure that everything will be fine if he leaves for a week. He will not have all of his hard work falling apart and going to waste due to incompetence. Absolutely not.
So then once his lieutenants are sufficiently prepared (and the rest of Gotham’s criminal element sufficiently cowed), he heads to Nanda Parbat, only to find Ra’s on the phone with Bruce, who is demanding to know if the Red Hood has any affiliation with the league.
Oh. Oh. He can give them affiliation.
A new plan begins to form.
He’s going to be the most affiliated he can be. Jason immediately goes to Talia with his newest plan: Overthrow Ra’s and takeover the league. Talia whips out her forty step outline for overthrowing Ra’s and tells Jason she’s so proud of him.
Jason has a new goal now, so he gets to work. He checks on things in Gotham, but everything seems to be fine and there haven’t been any unplanned explosions so it should be fine if he stays here for a bit.
Taking over Gotham really was good practice, as it turns out. Thanks to Talia’s plans and previous foundational efforts the takeover happens in no time.
Meanwhile the bats are still freaking out. Red Hood hasn’t been seen in three weeks, he may or may not have league of assassins connections, and even in his absence his goons seem to be managing things competently.
Back in Nanda Parbat, Jason and Talia finish their takeover. And now, finally, he’s ready to confront Batman.
He arrives in Gotham as the new head of the league. His arrival is loud, elaborate, and dramatic enough to fulfill his inner theater kid’s dreams.
Batman is speechless. And not his usual grunts instead of words, but actual surprised speechless. Jason is alive?!?!?!?
Jason was not expecting all the tears. And hugs. And mother henning. Goodness gracious, this was not part of the plan.
Bruce is obviously struggling with Jason’s revelation that he took over the league, but the newest little birdie seems almost relieved at that(?) and Dick and Alfred both seem strangely proud. Whatever. Even Bruce seems to be at least mostly ignoring that for now.
Then someone asks him if he knows Red Hood. Jason blinks. Says that yeah, he knows Red Hood. Everyone seems to ease at that. One mystery solved. Jason quickly realizes that most of them have no idea he is Red Hood. Cass seems to be the only exception but also appears amused and willing enough to not mention it.
Dramatic appearance complete, Jason now has a new goal: see how long he can keep the bats (minus Cass and potentially Alfred) in the dark about his crime boss identity.
He will bribe Cass as much as it takes to keep her on board with the causing chaos plan, but she seems eager enough. Favorite sibling status definitely unlocked. (The whole killing thing is fought over at great length and a truce of sorts is eventually made)
David Cain is never heard from again.
Damian shows up at some point.
At least one league member has suddenly found themselves as an HR rep for Gotham criminals? They’re still not quite sure how that happened.
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While we're on the topic of De-aging AU's I wanna talk about Jason and Damian if Jason was 14 again real quick.
Do you guys think that Damian looks at this version of Jason, so different from the version he knows, nothing like the person he was told Jason was, and feels uncomfortably seen?
Damian was always told that Jason died because he was reckless, because he disobeyed orders, he was fired as Robin and he got himself killed. A cautionary tale, not a threat to his position. He dismisses Jason because Bruce does, because Dick does, because sometimes even Babs and Alfred do.
That's not the kid that he's looking at now. This Jason is happy, and smart, and full of love that has not yet soured into grief. He hangs on Bruce's every word, trains until his hands bleed and his body gives out to perfect the moves Bruce teaches him. He looks at Bruce with stars in his eyes and he calls him dad.
And Damian can't help but think, that this is the perfect Robin. The perfect son. And if Jason - sweet, loving, strong, Jason - can be fired, can die and have his room locked away and his pictures torn down, can have his last memory as Robin be as A Good Soldier, how could the rest of them ever compete? What could Damian do to stand a chance?
Jason will never grow out of the shadow of Robin, like the rest of them did. As long as Bruce, and Dick, and Babs, and Alfred look at him and see a dead kid who came back wrong, he will never get to be anything else. He will not get to be looked at through who he is now without the shadow of a dead boy looming over him.
And the worst part? Jason is exactly the same person he was back then. Bitter, sure, angry, justifiably, but he is still the boy with too much love in his heart and righteous fury festering in his gut. He is exactly the same boy who threw himself in front of an explosion to save his mother.
(The lines between the mother that betrayed him and the father that disgraced him are so very blurred. Fire or blade or crowbars or fists it does not matter. It ends the same way it always does because Jason Todd always dies, in every universe, in every timeline, Jason dies and crawls out only to be killed again and again and again.)
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