silverwhittlingknife

[silverwhittlingknife]

dick grayson & tim drake: siblings

nightwing (1996) annual 1 // batman: battle for the cowl (2009) #1-3 // identity crisis (2004) #7 // batman: battle for the cowl (2009) #1 // red robin (2009) #1 // batman: gotham knights (2000) #26 // nightwing (1996) #6 // nightwing (1996) #138 // detective comics (1937) #874 // nightwing (1996) #25 // nightwing (1996) #110 // nightwing (1996) #139 // blackest night: batman (2009) #1 // red robin (2009) #12 // blackest night: batman (2009) #3 // red robin (2009) #11 // quote by erica e. goode (x)

[silverwhittlingknife]

❗️Nevada voters - this is going to sound weird, but PICK UP YOUR PHONE if an unknown number calls.

**Lots of signatures on ballots are not matching and your ballot may need to be fixed.

TLDR; yes, signature matching is an antiquated way to verify ballots but it is still being used. Reportedly thousands of ballots here need to be cured. Answer the phone!

[silverwhittlingknife]

People who are not afraid to text you 40 times in a row and don’t take it personally if you haven’t replied are literally the most valuable members of our society and should be recognized as such

[silverwhittlingknife]

Free & Discounted Election Day Rides 2024

Election Day is nearly here, and if you haven’t already mailed in your ballot or gone in for early voting, you might need a ride come November 5.

Here’s a roundup of some of the freebies, discounts, and information on getting to the polls that organizations are offering.

Lyft

Lyft announced that riders can preload the code VOTE24 for a half-price discount of up to $10 on rideshare, bike-share, or scooter rides on or before Nov. 5. The code is only valid between 5 a.m. to 10 p.m. every time zone.

Uber

Uber also announced it will offer half-off rideshare costs of up to $10 on Election Day for users in most states.

Using a new "Go Vote" tile displayed on the app, users can book a ride to the nearest poll with the discount unless they are in California or Georgia. The offer works between 4 a.m. and 11:59 p.m. local time on Nov. 5. The company will also offer 25% off food orders up to $15 with a minimum order of $25.

Lime

Lime is offering free rides to and from your polling place to vote early or on Election Day. Riders can use the promo code VOTE2024 to get two free 30-minute rides in the U.S.

Bird & Spin

Bird and Spin are also offering two free rides as part of their Roll to the Polls initiative. Riders can use the code RockTheVote2024 in the app.

Rideshare2Vote

Rideshare2Vote helps voters in need of a ride get to their local polling facilities for free. Ridshare2Vote is available in seven swing states (Arizona, Georgia, Michigan, Nevada, North Carolina, Pennsylvania and Wisconsin), as well as Alabama, California, Colorado, Florida, Illinois, Kentucky, New Hampshire, New Mexico, Ohio, Tennessee, Texas and Virginia. If you live in one of these states and have a car, you can also volunteer to drive others to the polls. Go to Rideshare2Vote.com or call 888-977-2250 for more information.

Rides to the Polls (Georgia Only)

The New Georgia Project's Rides to the Polls program will give free rides to voting sites for Georgia residents on Nov. 5 from 7 a.m. to 7 p.m. Go to newgeorgiaproject.org/rides or call 800-874-1541 for more information.

Moovit

Moovit has integrated tens of thousands of polling locations from 130 counties across 11 states into its trip-planning app. The app also provides users with quick access to voter registration information and which transit agencies are offering free rides.

Transit Agencies / Public Transportation

There are countless transit agencies offering free rides on Election Day — everywhere from Detroit to Des Moines to Durham — so be sure to check with your local authority.

Please share any additional resources you’re aware of. Let’s make it easy for people to get to the polls!

[silverwhittlingknife]

Nightwing in Nightwing (2016) #119

[silverwhittlingknife]

due to recent events

boop!

[silverwhittlingknife]

boop <3

[silverwhittlingknife]

some sad boy in the mirror content for y'all

[silverwhittlingknife]

what i think people mean when they say they "want to squish my art"

how i keep reading it

[silverwhittlingknife]

just got fired from my government job… apparently they can control the weather with space lasers now so they don’t need me to stand on a dark tower and chant in a big bellowing voice to summon clouds and winds of fear and frost

[silverwhittlingknife]

Dick’s role in A Lonely Place of Dying is so massively important and good, which is why it’s so sad when it gets overlooked or erased.

In the 1990 collected edition, Dennis O’Neil (Batman editor of the time) talked about why he wanted Dick to be a central part of the third Robin’s origin. Dick needed to be there to show several key points:

Tim and Dick are deeply connected to each other (their childhood meeting at the circus, which links old Robin to new)

Dick approves of and endorses Tim as Robin (he directly tells Bruce that Tim should be Robin)

Dick cannot return to being Robin, no matter how much he tries, because he has his own new role now (this is shown through the failed Batman/Nightwing teamup against Two Face)

O’Neil’s goal was to preemptively combat any potential concerns or complaints readers might have about a third Robin. He had overseen the updates to Jason’s origins and had observed the mistakes they made and which complaints they received. In particular, the new origin for Jason 2.0 gave Dick little control over leaving the Robin mantle or passing it down. This bolstered fan complaints that Jason was usurping Dick, a feeling that O’Neil did not want to continue with the third Robin.

These considerations were the foundation of how Marv Wolfman constructed Tim’s origin and character: someone with an almost fated connection to Dick, who idealized Dick and was passionate about what the dynamic duo meant as symbols, and who explicitly had Dick’s blessing to be Robin.

So, when people remove Dick from Tim’s origin, they are removing a core part of Tim’s character and how he got the mantle.

[silverwhittlingknife]

Introduction to Batman: A Lonely Place of Dying, April 1990

Introduction by Dennis O'Neil for Batman: A Lonely Place of Dying (1990 collected edition)

Transcription below the cut/readmore.

INTRODUCTION by DENNIS O'NEIL

Robin was gone. We needed a new Boy Wonder. There had been two previous Robins. The original first appeared less than a year after a new costumed hero called Batman made his debut in DETECTIVE COMICS #27, to instant success. Some time within the next eleven months, his creators, artist Bob Kane and his writer-collaborator Bill Finger, decided to give their dark, obsessed hero a kind of surrogate son, Robin, who was hailed on the cover of DETECTIVE #36 as “the sensational character-find of 1940��Robin, The Boy Wonder.” Over the next 40 years, Batman’s fortunes varied: always, however, Robin was at Batman’s side.

He served a couple of functions. If Batman were real (and it may shock some of our more avid readers to learn he isn’t), and if he were the grim, obsessed loner he is often portrayed as, Robin, with some help from Batman's faithful butler Alfred, would keep him sane; a man whose every waking hour is focused on the grimmest aspects of society, who is unable to release the effects of seeing his parents murdered, whose life is an amalgam of sudden violence and lonely vigilance, would soon skew into a nasty insanity if he did not have someone to care for, someone to maintain a link with common humanity. But Batman is, of course, not real. (My apologies to avid readers.) He isn’t exactly a fictional character—more on that shortly—but he does not and could not exist as a living, breathing human being. That doesn’t make Robin any less useful: he serves the same functions in the Batman stories as Watson served in the Sherlock Holmes canon and the gravedigger serves in Hamlet: like Holmes’s faithful doctor, Robin is a sounding board, a person with whom the hero can have dialogues and thus let the reader know how brilliantly he’s handling matters and like the gravedigger, he occasionally provides a bright note in an otherwise relentlessly morose narrative.

Which is why I was a trifle uneasy when we—the editorial staff of DC Comics—decided to let our audience decide whether he would live or die. It came to be known in our offices as the “telephone stunt.” We had a character, Robin, the readers didn’t seem terribly fond of. This wasn’t the original Robin, the “character-find of 1940”; that Robin was Dick Grayson and he had graduated from sidekick to bona fide hero who fronted a group of evil-fighting adolescents, The Teen Titans. In 1983, it was decreed that Robin should grow up and assume a crime-fighting identity of his own—become his own man, as befitted the leader of the mighty Titans. He left Batman’s world to assume the name, costume, and persona of Nightwing. Gerry Conway and Don Newton replaced him with a second Robin, Jason Todd, whose biography was virtually identical to that of Dick Grayson. Why not? Gerry and Don were not trying to innovate, they were simply filling a void. The assignment they were given was simple: Provide another Robin. Quickly and with as little fuss as possible.

In 1986, Max Allan Collins inherited the Batman writing assignment and told his editor he had an idea for an improved Jason Todd. Make him a street kid, Collins said. Make his parents criminals. Have him and Batman on opposite sides at first. Sounded fine to the editor and, since DC was in the middle of a vast, company-wide overhaul of storylines anyway, Collins was told to go ahead. I was the editor; I did the telling. And I’d do it again, today. Collins’s Robin was dramatic, did have story potential. But readers didn’t take to him. I don't know now, and will probably never know why. Jason was accepted as long as he was a Dick Grayson clone, but when he acquired a distinct and, Collins and I still believe, more interesting backstory, their affection cooled. Maybe we—me and the writers who followed Collins—should have worked harder at making Jason likeable. Or maybe, I guessed, on some subconscious level our most loyal readers felt Jason was a usurper. For whatever reason, Jason was not the favorite Dick had been. He wasn’t hated, exactly, but he wasn’t loved, either. Should we write him out of the continuity? It didn’t seem like a bad idea, and when we thought of the experiment that became the telephone stunt, Jason seemed the perfect subject for it. The mechanics were pretty simple: we put Jason in an explosion and gave the readers two telephone numbers they could call, the first to vote that Jason would survive the blast, the second to vote that he wouldn't.

It was successful—oh my, yes. We expected to generate some interest, but not the amount or intensity we got. As soon as the final vote was tallied—5271 for Jasons survival, a deciding 5343 against—the calls began. For most of three days, I talked to journalists, disc jockeys, television reporters. We got a lot of compliments. They ranged from a critic’s liking our stunt to the participatory drama of avant garde theater to the brilliant comedy team of Penn and Teller expressing mock envy that we beat them to “the kill-your-partner-900-number scam.” But then came the backlash, ugly and, to me at least, totally unexpected: one reporter claimed that the whole event had been rigged—that, in fact, we had decided on Jason’s demise ahead of time and staged an elaborate charade; a teary grandmother said that her grandchildren loved Jason and now we’d killed him; several colleagues accused us of turning our magazines into a “Roman circus.” Cynical was a word used. And exploitive. Sleazy. Dishonorable. Wait a minute, I wanted to reply. Jason Todd is just a phantom, a figment of several imaginations. No real kid died. No real anything died. It’s all just stories—

I would have been wrong. Batman, and Superman, and Wonder Woman and their supporting casts are quite a bit more than “just stories” if, by “stories,” we mean ephemeral amusements. They’ve been in continuous magazine publication for a half-century, and they’ve been in movies, and television shows, and in novels, and on cereal boxes and T-shirts and underwear and candy bars and yo-yos and games—thousands of ventures. For fifty years. Fifty years! Although the circulation of our magazines is relatively modest, these characters have been so enduring, so pervasive, they have permeated our collective consciousness. Everybody recognizes them. They are our post-industrial folklore and, as such, they mean much more to people than a few minutes’ idle amusement. They’re part of the psychic family. The public and apparently callous slaying of one of their number was, to some, a vicious attack on the special part of their souls that needs awe, magic, heroism.

We had promised to abide by the telephone poll, and we would. But within a few days, it became apparent that we’d have to begin growing another Robin. We had forgotten that Batman exists outside the pages of our comics, is not the exclusive property of DC’s editorial staff; because he is both popular and imperishable, hundreds of others have some legitimate interest in him (not the least of whom are the readers who, for one reason or another, had missed the voting.) Our medium may have kept him alive, but others have added immeasurably to his success. When we began hearing from them, the consensus was that a Batman without a Robin wasn't quite a Batman. I wasn’t surprised. Nor did I disagree, particularly. So our problem became: how to create Robin III without generating the hostility that plagued poor Jason. Dick Grayson was the answer. If, as we thought, readers felt Jason had somehow usurped Dick’s place, then we should link the new Robin to Dick—give Robin III his predecessor’s stamp of approval. One writer had done almost all of the Dick Grayson material DC had published for a decade: Marv Wolfman, co-creator (with George Pérez) of the New Teen Titans. That made Mary the first, and really only, choice to undertake the task of giving Batman a new helper. And if we were using Marv, why not have some of the story happen in the pages of THE NEW TITANS, which he was already writing, and thus be able to take advantage of the very considerable talents of Marv's collaborator on the Titans, George Pérez? George volunteered to co-plot the story with Mary and do layouts on the TITANS episodes, and editor Mike Carlin enlisted Tom Grummett and Bob McLeod to complete George's graphics work. I asked the regular BATMAN artists, Jim Aparo and Mike DeCarlo, to handle the BATMAN issues. Finally, we chose a name for Robin III—Tim Drake—and, after a couple of editorial conferences, six gifted gentlemen retired to do what they do best.

The result seemed worthy of being collected between one set of covers, to be read as a graphic novel. We decided to do that and you’re holding the result. I hope you enjoy it. But please don’t think it’s the end of the Robin III saga. Dick Grayson’s lasted 50 years, after all, and Tim Drake does have his blessing.

Dennis O’Neil

April 1990

[silverwhittlingknife]

tim lookin like

every single day with this fucking clown of a man. therapy, bruce. antidepressants. vitamin b pills. natural light. join a fucking pottery class. you can make bat-shaped ash trays. something. anything. please. why are you in the desert. why are you always like this.

[silverwhittlingknife]

Crow's Nest

[silverwhittlingknife]

Dick's too real for this

[silverwhittlingknife]

can we please please talk about that time that dick had the bat symbol bruised into his chest from azrael's sword? please?

batman (1940) #708

[silverwhittlingknife]

if you haven’t read ‘rosencrantz and guildenstern’ (1874) you’re really fucking missing out

other line highlights include “He’s going to soliloquize! Prevent this, gentlemen, by any means” and “I can’t bear death! I’m a philosopher!”