#also Tim has a moral code!

[thelesbianthespianposts]

“Jason’s so rebellious”, “he’s the problem child” bro is NOT. He THINKS he is. But if anything he’s the kiss ass child trying to seem cool and rebellious. He’ll blow up a building and immediately be like “did Bruce see that?” “Did he see how rebellious I am??” “What’d he say???”. Rebellious my ass.

[jazzically]

you guys get it

the fact that martin blackwood haters exist is so confusing to me like he's a bitch who moans and complains but also sets fire to things for fun and successfully manipulates avatars and gets jealous about the avatar of death waking up his boyfriend up from a coma and is both jon's staunchest defender and not afraid to call out jon's bullshit

[ditzybat]

Fanon Tim, a mysterious super smart hacker bro on the same level of Oracle, who’s also unhinged, caffeine dependent, morally grey, negative rizz, lowkey has the highest body count of all the bats, and is a badass: and I will watch the crimson blood, leak from you neck

Canon Tim, loser skater boy who plays DnD in his spare time, nap addicted, pulls hella bitches, strict moral code with the bad habit of seeing only black and white, and is also a major badass: woah, that kid is hardcore goth

[demonic0angel]

Dead Silent. One of the batfam ask Danny why he’s more clingy than his siblings and Danny just goes “huh??” Cuz he’s probably the LEAST clingy. Dan is Yandere Levels of clingy, Jazz is Ride or Die clingy, Dani is probably Stalker clingy, and don’t even get him started on their parents.

Danny, by comparison, is the normal one and I feel like that should be appreciated so much more.

(This is SO freaking funny and you're so right omg. It got long bc I got excited again lmaooo)

"You... you think I'm... clingy?!" Danny cried in shock, looking around for a camera. Were they serious? Was this actually real?

Duke said with a shrug, "Well... I mean, I always see you around Cass. We're just asking."

"I am literally the least clingy and the most normal out of my siblings."

Jason snorted from where he stood behind Tim's chair. Everyone was listening in but only Damian and Duke had the graciousness to not pretend that they weren't. Even Cass was staring, blinking as she was held in Danny's arms for a cuddle after the patrol.

"Oh yeah? Prove it."

Danny glared at him and pointed to his shadow, which stretched out beneath him from the Batcave's lights.

"One, the only reason she doesn't follow you around everywhere is because Jazz literally has Shadow following you whenever you go out." As he said this, two eyes blinked from within Jason's shadow and then disappeared just as quickly. "Two, she had all of your medical information on a file in her phone! And just information on you, period! Three, just yesterday, she blew up two ships and took down a trafficking ring by herself because she got reports that they put a hit on you! And don't even talk about how normal she is compared to me, because she definitely isn't! You just think she's a normal amount of clingy because the both of you have your brains rotted from romance novels!"

Jason made a face. It was one of great affront, grudging acceptance, and a wistful adoration. Danny couldn't even feel smug for proving him right because the look on his face was just disgusting.

Cass giggled from within his arms.

Dick opened his mouth and Danny pointed at him aggressively, clutching at Cass as he said, "You can't speak either! Dan is literally the most clingy out of all of us! You know what Jazz said?! He literally has abandonment issues and codependency!! Y'know what his name was before we came here?! It's "World Destroyer"! The only reason he hasn't done anything is because he really likes you and wants to spend most of his time watching you and keeping you safe instead of going around and causing destruction!"

Dick blinked. "But he also—"

"Wrong! He uses clones to do stuff while he keeps watch over you, and you're the only reason he has a moral code at all."

Dick made a considering face and then he smiled. "Aww, that's kinda cute. I didn't know he was so clingy."

Danny muttered to Cass, "Are you seeing this bullshit?"

She giggled again and patted at his arms that were wrapped around her neck.

Duke nodded, amusement on his face. "I see your point. But what about Dani? You're definitely clingier than her."

Danny made an error noise. "Nope! The entire Young Justice is codependent and clingy, so it just looks normal. And Dani just follows around Kon and Tim in intervals so you can't see either of them." He also grimaced at Tim, who was still working at the computer. "And Tim is already watching them, aren't you? You three are a bunch of freaks."

Tim looked up with a small smirk, much to Damian's audible disgust. "You got me there. I keep trackers and cameras on all of them. And Dani's usually just invisible."

Danny smiled triumphantly. "Hah! See? I'm the least clingy!"

There were murmurs of agreement and then Duke said, "I don't know, I think all four of you are clingy and weird."

Danny sulked. "No I'm not."

Duke gestured to all of him. "You're literally climbing Cass like a koala."

Okay, so his legs were wrapped around her waist and he was hanging onto her like a sticker, but so what? She didn't mind!

Cass snickered and said, "It's okay. He's light."

"Yeah, I'm light," grumbled Danny as he squeezed her.

Duke and Damian shared a look, as Duke said, "We should get out of here. Thank god these freaks are taken."

"Agreed. Thank goodness we are the most normal."

Now there were cries of outrage throughout the entire cave all over again.

[fanfic-obsessed]

Feral Tim

I have found I have a great love for Feral Tim Drake. This is a Tim Drake who has built his own moral code in an echoing, empty house and tracking vigilantes across rooftops. First it should be noted that Tim’s loyalty is tied closer to Robin than it is to Batman.  That his motivation for blackmailing Bruce to become Robin was more toward saving Robin’s Dad and Robin’s legacy than saving Batman. 

Little Tim Drake is Obsessively, Desperately, Dangerously protective of the Robin legacy and his predecessor Robins, particularly Robin #2 Jason Todd.  It becomes well known in Gotham, really quickly that it is not a good idea to insult Robin while Robin #3 is around.  

As always, I have no idea what is cannon here.

Like, if you insult Robin #3 to his face, you will get a laugh and an agreement-He will still stop you from your crimes but you won’t end up extra hurt. If you insult Robin in general, Robin #3 will be more aggressive in taking you down and you will get some extra bruises. If you insult Robin #1, you can expect at least one additional broken bone, which bone depends on the insult. However if you insult Robin #2, Robin #3 will bite and he will bite to the bone; you will be mauled and chances are Batman will have to pull Robin #3 off you. 

Count of Bites, before all of Gotham got the point: 4 low level criminals, 3 civilians (all of which were drunk, belligerent, and woke up the next day confused about their injuries), no less than 16 assorted Goons, and The Penguin. 

I want you to take a moment to picture Batman, who got a bit less violent after getting Robin #3 but got substantially less violent because he had to be a tired dad prying his little gremlin’s jaws off The Penguin. Everyone is distinctly uncomfortable with Batman apologizing to The Penguin. 

So Gothamites, no matter the type, learned that one does not insult Robin #2 ever. In fact avoid insulting Robins, unless you are specific enough to be insulting Robin #3 (Though they would not have cause to know for several more years, this protectiveness extended to both Robin #4, the girl Robin, and Robin # 5, the Stabby Robin). Batman gets less violent by virtue of now chasing after a child with negative fear responses (Seriously, Scarecrow once dosed him with his latest fear gas and Robin #3 did not even appear to notice). Gotham, as a whole (Goons, Civilians, all of the other Rogues, other vigilantes) and without consulting each other, decides that Robin #3 and The Joker cannot ever meet. There is a herculean, sustained effort by all of the Rogues and Goons to keep the Joker distracted until Batman can send Robin away whenever the Joker breaks out. Consensus is that no one quite knows which will come out victorious, but there would be substantial damage. Also, Robin would end up biting the Joker and no one is sure what the Joker’s blood would do to him.

We fast forward to Red Hood taking over Crime Alley. He does not notice but the first time he ranted about Robin every one of his subordinates, plus the three Black Mask Goons in the room, flinches. They all relax when it becomes clear that the Robin Red Hood takes offense to is Robin #3.   No one quite knows how to tell Red Hood that, for his health, he should stop insulting Robins (there had never been any real discussion about it). Black Mask and Ivy, at separate times, try to awkwardly pass on the warning but did not quite get the message across (there really is no way to phrase “The tiny child in the traffic light colors is dangerous and will do you actual damage if you disparage his personal hero, the dead Robin”). 

As soon as it got around that Red Hood hunts Robins, with Robin #3 specifically being a target, Batman does ship him out to Titan Tower at once, but not for the reason that Red Hood thinks.  It is not actually to protect Robin, not really. It’s because Batman has figured out that Red Hood was once Jason, and he knows down to his bones that Tim’s moral compass stays on this side of the killing line because he believes that both Jason and Dick would have a problem with him killing.  If he finds out that Jason, the preferred of the two, is ok with killing, that line goes out the window.  And then Batman is going to need to put Robin on a child leash. 

So Red Hood goes to attack a Robin far from the nest and it starts about how he expected. He got in a few good hits, and his replacement actually does have some decent moves. Then Jason makes a disparaging remark about ‘the Robin that died’ that, had he been allowed to finish his sentence, would have circled back around to insulting Tim. However he was not allowed to finish his sentence because instead of fighting on human teen, he was suddenly fighting some kind of demon (metaphorically), who in between mauling him (and how the fuck is this kid biting through kevlar, Jason would like to know) is screaming about how Red Hood was not allowed to talk about Tim’s Robin like that. 

For a few moments Red Hood gets to realize Robin is not locked in with him, he is locked in with Robin.  Then one of Robin’s attacks pulls off the helmet (no bombs at this time, thankfully). As soon as Tim sees Jason’s face he stops attacking and hugs him tightly, babbling about how good it is to see him alive and apologizing for attacking him as Tim thought it was just some villain being disrespectful.  Tim pulls him through to the med bay to treat his injuries. 

While Jason is being treated, and they wait for the lockdown to lift, Jason is struck by the realization that if he even implied he wanted it, Tim would go try to collect the Joker’s head for him.  This is quickly followed by the terrifying realization that Jason is 45% of this child’s moral compass (With Dick being about 30% with the remaining 25% being all Tim). 

The Pit Rage is practically running from this level of crazy. 

Jason finds himself escorting Tim back to the Cave, with Jason low key panicking.  While there is some sympathy in the form of Dick, it turns out that Dick and Tim have a similar way of thinking (except where Tim imprinted on the two Robins, Dick imprinted on Bruce and Alfred) and the same recklessness. It’s Bruce that Jason finds himself bonding with (Is Jason weirded out by the fact that, of his siblings, Jason-with his supernaturally enhanced anger and the bag of heads- is the most stable? Yes, Yes it does) as he desperately tries to keep Tim from doing damage (both physical and psychic) other people.

[lena-thinks-too-much]

I think people get so wrapped up in fanon that they forget the only time Tim was confirmed to be stalking the bats was the period immediately following Jason's death, and that was for evidence/blackmail purposes. Outside of that Tim really only follows Batman and Robin through whatever's in the news. You can see it in the little snippets of his dossier when he's talking to Dick and Alfred.

Without canon stalker Tim, Jason being "Tim's Robin" doesn't really have any basis. Don't get me wrong I eat those fics up because of the angst potential alone. But it's still important to remember that it's technically not canon for analysis purposes.

I mean come on, we all know Dick was totally Tim's Robin. But that's a rant for another time.

The point I'm trying to make is, Jason's Robin, outside of the general robin being a role model, wasn't really someone Tim looked up to, at least from what I can tell in the robin comics I've read (and I've read like half of Tim's original run). Tim did look up to Jason as a hero and as someone who's shoes Tim was trying to fill. But it makes more sense to me that Jason probably existed as more of a cautionary tale to Tim.

(Important sidenote: batman mistreating Tim in any way such as being harsher with Tim or mistaking him for Jason is also completely fanon. Bruce spends a lot of Tim's run afraid of scaring him off, likely because of what happened to Jason, and it lets Tim get away with defying Batman's orders a ridiculous amount of the time. This child had no respect for authority.)

So when we get to the whole Tim vs Jason, or ideologically, Gun batman vs Red Hood, it creates an interesting dichotomy.

Especially considering titans tomorrow was right after Identity Crisis which had followed Wargames. Basically Tim sees exactly what grief can turn him into immediately after losing one of his best friends, his girlfriend, and his dad in a short period of time (no wonder he dropped out).

I think Tim resenting Jason, in that context would make a ton of sense because like you said above, Jason as the red hood represents everything Tim hates about himself.

Although I do want to mention that I live for Jason and Tim's dynamic in later comics after red robin. They're brother's your honor.

can we talk about how Tim meets himself as gun batman who's entire philosophy is that sometimes you have to take extreme measures and the only way to stop crime is to control it. And then literally a few months later Jason shows up and the red hood operates on the exact same philosophy but in a more morally ambiguous way (re: not being a facist dictator tyrant)

[ew-selfish-art]

Dpxdc AU: consultant groups can be used to outsource problems for companies so why not monarchies?

Danny is listening to the various eyeballs and ghosts chatter on about all the issues that he now has to oversee and advise and make so many freaking decisions on. It’s annoying that it all has to come down to his call because he was a dumb 14 year old who didn’t want his town to permanently live in the ghost zone.

Now 17, King of the Infinite, and a bit wiser to the world, Danny is doing his best to balance his teenage ambitions to not give a shit and his protective obsession to very much give a shit.

Sams parents are making her learn the family business and Tucker is trying to make this internship he’s got with a fancy tech company out of New Jersey into a career without college… so while they’re commiserating with Danny the idea comes up.

Earth has a shit ton of heroes. Like, ever since the Justice League *poofed* the GIW out of existence with the Meta human acts- more and more caped crusaders seemed to be coming out of the wood work. More villains too but still, more people who seemed wise to their abilities and morals. Danny has literally never taken an ethics class.

But rn, Eye-mothy and Eye-Bert are arguing over how Danny as King Phantom is supposed to tackle the problem of some fucking pool acting as a weird trade route with a cult and… ugh it’s just so boring but like also such a fucking problem. But… maybe it can be someone else’s issue.

Opening a portal, Danny escapes into space and gets to work finding the base of operations- Tucker had told him there was a new satellite after all and there’s no way it wasn’t connected to the hero orgs- and boom he flies into the Watchtower.

“Hey- are any of you guys willing to consult on some weird pools of ectoplasm in Pakistan? Green and glowing little lakes of bullshit and magic?” Danny asks into the meeting room of the JL regardless of their startled and alarmed exclamations.

“… I could consult on that.” A voice comes from the corner, and Danny recognizes him as one of the bat people. Or bird? The guy is in a lot of red and clearly wasn’t supposed to be in this meeting based on the way he’s propped in the corner. The room erupts in protest but Danny barely hears them through his excitement and focus on the dude.

“Great! I’ll have him back before the end of the day! Lets go Bird boy!” And with that, Danny grabbed the Bird, chucked them both through a portal back into his thrown room and begins to explain the way these eyeballs are totally trying to trap him into doing more work than he needs to do.

“What do I call you by the way? I’m Danny but you’ll probably hear them call me King Phantom.”

“I go by Red Robin, and honestly, I’ve been trying to get this shit taken care of for years.”

From there Tim becomes a regular consultant for King Phantom- the Bat Family is losing their minds with him constantly going to the land of the dead but also Constantine said not to piss off the king at all costs.

Danny is just thrilled that this dude has a shit ton of insight as well as business sense- like he could legit run the monarchy way better than him despite the fact that they’re the same age.

They end up working together for years, and even when there’s not an active issue at hand, Danny will meet up with the bird just to talk.

Sam and Tucker think they’re hilarious each time they ask if Danny’s proposed yet.

Tim has already planned their wedding but all of that information is in a folder more secured than the nuclear codes- Danny needs to ask him on a date first.

[phoenixinthefiles]

If I was DC screenwriter I think people would hate me

Cus I’m pulling out all the stops

Dick Grayson with anger issues who absolutely is not a golden retriever (that man will purposely target your occipital bone with his escrima) but does value his family over anything and loves them fiercely (even when they give him a heart attack)

Jason Todd the sunshine robin who’s really passionate which leads to his “extreme anger” Yes he’s a theatre nerd and he does listen to Jane Austen but that’s not his entire personality.

Cassandra Cain can speak.

*ducks away from window* Tim Drake is not a short king who is extremely sleep deprived and needs coffee to function. His smarts rival Bruce’s and he hates coffee, likes Mountain Dew a normal amount, and is sleep deprived but he takes power naps cus he plays into the corporate king role. He’s taller than Dick (cus that’s funny) and he’s missing a spleen but he blew up all the Lazarus pits so he does not care. Also he has commitment issues (mans cannot keep a girl or boy)

Duke Thomas is not the “normal one” he’s just as crazy as the rest of em and if you think he’s not it’s because you’ve fallen into his trap. The boy started a revolution and is the only meta Batman has pardoned (😝 Clark)

Damian is a precocious, traumatized, kinda mean, child. But he’s still a child, he can’t see over the counter at the doctor’s office, he wants his mom and dad together, and he loves being loved. Yeah he’s a bit of a brat but his grandfather is royalty and his father is Gotham’s dark prince; he’s allowed to be a bit pretentious. He’s a good kid and he had some bad influences but He is good.

Bruce Wayne doesn’t collect child soldiers, he is not physically abusive (physically, cus he’s had some moments) He won’t kill joker because the thin line that keeps that little boy in the alley sane is his fragile moral code. His kids were his kids first (with the exception of Tim😭) he would stop if he could, but because he can’t; he trains them.

Talia Al Ghul is not a rapist and she does love her son (the way she knows how).

Alfred Pennyworth is immortal🥰

(I’m aware I left some members off but these are just my main takes)

[gnomewithalaptop]

Y'know, it's so funny to me when people make out like Tim Drake would keep files on how to take down his friends when Tim has explicitly said he disagrees with Batman on this:

[Young Justice (1998) #36]

Like, yes, during his Red Robin tenure he does make a Hit List full of contingency plans for known heroes. But if you go and read that, you'll notice that, while the Justice League and Damian may be on there, Tim's own friends are decidedly absent:

[Red Robin (2009) #14]

In fact, a lot of these heroes are people that have either (a) attacked Tim specifically, (b) have a track record that includes turning evil/getting mind controlled, or (c) are on the JLA (meaning Batman probably already had those files compiled and Tim just stole them).

So yeah: Tim's not down with contingency-planning for his friends. You know which one of the YJ crew DID agree with Batman though? My favorite blorbina Anita Fite, aka Empress:

[Young Justice (1998) #36]

But yeah, this contrast is honestly fascinating to me. Because while both Anita and Tim have been shown to be incredibly loyal individuals, this exchange really highlights the fact that, between the two of them, Anita is far more likely to engage in this kind of pragmatism when she thinks it's necessary to get the job done

The whole Our Worlds at War arc actually does a really good job of illustrating how both of them react to betrayal from within. It's not just the Batman Files conflict either -- I'm thinking specifically about the hallucination-based torture Granny Goodness put them through, which showed them their worst fears. Most of the team ended up having to watch their loved ones die, but what's super interesting to me is that we really only see Anita and Tim hallucinate that their loved ones blame them for their deaths:

[Young Justice (1998) #37]

Like. It's not the same as a teammate turning evil at all. But it does give us a good idea of how they'd both react when faced with a friend or teammate doing harmful things, albeit on a smaller scale. Because where Tim kind of just accepts Superboy yelling at him and moves straight into bargaining for Kon's life, Anita actually flips the script, gets angry, and defends herself against her father:

[Young Justice (1998) #37]

(she actually gets so righteously pissed off that she manages to break out of the VR simulation Granny Goodness had her trapped in, but that's another point)

But yeah, it's super interesting, because by this point, both Anita and Tim have been set up to be very similar characters. They both can be a little bit obsessive, they both have some issues with boundaries and stalking (Tim with Nightwing and Batman, Anita with Cissie), and of the team, they're both portrayed as the "normal" members (Anita does technically have mind control powers but she barely ever uses them, and in a fight, she's basically just a very good, human-level fighter)

But at the end of the day, though Batman forces Robin to put on a cool front of objectivity, Tim (at least in his pre-grief-spiral era) ultimately wants to see the best in his team. When the people he cares about screw up, he wants to give them second chances. And when that trust gets broken, his first instinct is to try to use diplomacy, or, failing that, simply remove himself from the situation (as we see at the end of the Our Worlds at War arc when he quits the team)

Anita, on the other hand, while still incredibly loyal, does not hand out that loyalty unconditionally. We see this when she tries to keep her identity secret from the YJ squad, we see it when she gets pissed in Granny Goodness's hallucination when her father blames her for her mother's death, and we see it when she later blames Secret for her perceived role in Anita's father's death

Anita also happens to sit right smack dab in the middle of the YJ morality scale; while she's generally pretty chill and willing to abide by typical superhero codes of ethics (unlike Slobo and Secret), she's also been shown to bend those rules when she believes it's necessary (as seen here when she tortures and threatens to kill a man for trying to hurt Cissie). Ultimately, what this means is, between Tim and Anita, it's honestly Anita who'd probably be the most willing to put her personal qualms aside, buckle down, and go against her loved ones if it was the only reasonable option

Anyway. This is a really long-winded way of saying I think Gun Batman's biggest nemesis should be Empress

[blughxreader]

building off of this platonic yandere batfam headcanon where they're slaves to your moods and whims...

I also kind of enjoy the idea of batfam revering and fearing batsib. Not enough to lesson their control over you (or back off their affection in any way), but they want your love so badly / think you're a jewel among rubble / cling to your every thought... I can see them freezing up when they know they're about to make you mad, or when you give your opinion.

Tim's like, "*shaky sigh* hi... we need to upgrade the tracking chip in your neck :) itwasbruce'sidea." (his idea actually)

or they know your triggers by heart (mentioning your past family, your aspirations of travel, lost career goals, etc) and immediate silence falls over them as they wait for your reaction.

This works especially well for Darlings that withdraw into themselves. It's impossible to NEVER give a single opinion or extra explanation, so on the rare occasion when you divulge something about yourself, they're like oh god its happening JOT THAT DOWN

Dick is good at talking around your pointed silence, even if he gets nervous under your glare. He has stars in his eyes when you finally engage with him, even if it's only a sentence more than your usual "yes/no" responses.

Dick is unpredictable too because you never know where his limit is. It's fine, it's fine, it's fine, then he comes back from patrol with broken knuckles and the scariest look on his face because he couldn't take the stress anymore. The only one in the house who will match your anger (rarely happens, though), and he apologizes through actions, not words.

Jason, who always has some shitty remark to make, finds himself at a loss for words when you're not talking. You two sit with your arms crossed in silence and look sour for two hours, then he walks away thinking it was a relatively good visit.

He gets overwhelmed the easiest when you're mad. When you're in a bad mood, very slight disturbance in the house sets him off and he needs the rest of the day to cool off.

Tim has no clue how to handle you. He doesn't fit the reliable older brother role and he can't fool anyone with the doe-eyed baby brother act, so I think he'd take the "best friend sibling" approach.

He's always trying new ways to curry your favor, despite it occasionally pissing you off from how obvious his attempts are. Tim's the least likely to be deterred by your rejection, despite how deeply it hurts. He sulks in the shower for an hour then gets out to cause problems only he can solve.

Kind of like how Damian absorbed Dick and Bruce's moral code because it fit his end goal of being Batman, I feel he would do the same to you but for slightly different reasons.

Damian walks around like your mirror. He unconsciously mimics everything you do, absorbing your behaviors and speech like a sponge. An outsider wouldn't be able to see past his trained neutral expression, but on the inside he thinks you're so cool.

He also copies you as a coping mech in order to limit upsetting you, and gets VERY embarrassed when he says something that contradicts your feelings.

Bruce, ever the scapegoat, has resigned himself to the brunt of your anger. He can't weasel his way into your heart like the boys can, so he's the most transparent about his bonding efforts. His gifts and attention are steady and unrelenting, no matter the response.

I think he's the sweetest... He's definitely the best listener in the house, and genuinely wants nothing more than for you to be safe and happy. Yes he wants you to accept the child/sibling role, but he won't manipulate you to get there (unlike some of the boys). Your anger gives him stress, but he takes it in stride.

for more yandere batfam content, visit my masterlist!

[mostlysignssomeportents]

AI “art” and uncanniness

TOMORROW (May 14), I'm on a livecast about AI AND ENSHITTIFICATION with TIM O'REILLY; on TOMORROW (May 15), I'm in NORTH HOLLYWOOD for a screening of STEPHANIE KELTON'S FINDING THE MONEY; FRIDAY (May 17), I'm at the INTERNET ARCHIVE in SAN FRANCISCO to keynote the 10th anniversary of the AUTHORS ALLIANCE.

When it comes to AI art (or "art"), it's hard to find a nuanced position that respects creative workers' labor rights, free expression, copyright law's vital exceptions and limitations, and aesthetics.

I am, on balance, opposed to AI art, but there are some important caveats to that position. For starters, I think it's unequivocally wrong – as a matter of law – to say that scraping works and training a model with them infringes copyright. This isn't a moral position (I'll get to that in a second), but rather a technical one.

Break down the steps of training a model and it quickly becomes apparent why it's technically wrong to call this a copyright infringement. First, the act of making transient copies of works – even billions of works – is unequivocally fair use. Unless you think search engines and the Internet Archive shouldn't exist, then you should support scraping at scale:

https://pluralistic.net/2023/09/17/how-to-think-about-scraping/

And unless you think that Facebook should be allowed to use the law to block projects like Ad Observer, which gathers samples of paid political disinformation, then you should support scraping at scale, even when the site being scraped objects (at least sometimes):

https://pluralistic.net/2021/08/06/get-you-coming-and-going/#potemkin-research-program

After making transient copies of lots of works, the next step in AI training is to subject them to mathematical analysis. Again, this isn't a copyright violation.

Making quantitative observations about works is a longstanding, respected and important tool for criticism, analysis, archiving and new acts of creation. Measuring the steady contraction of the vocabulary in successive Agatha Christie novels turns out to offer a fascinating window into her dementia:

https://www.theguardian.com/books/2009/apr/03/agatha-christie-alzheimers-research

Programmatic analysis of scraped online speech is also critical to the burgeoning formal analyses of the language spoken by minorities, producing a vibrant account of the rigorous grammar of dialects that have long been dismissed as "slang":

https://www.researchgate.net/publication/373950278_Lexicogrammatical_Analysis_on_African-American_Vernacular_English_Spoken_by_African-Amecian_You-Tubers

Since 1988, UCL Survey of English Language has maintained its "International Corpus of English," and scholars have plumbed its depth to draw important conclusions about the wide variety of Englishes spoken around the world, especially in postcolonial English-speaking countries:

https://www.ucl.ac.uk/english-usage/projects/ice.htm

The final step in training a model is publishing the conclusions of the quantitative analysis of the temporarily copied documents as software code. Code itself is a form of expressive speech – and that expressivity is key to the fight for privacy, because the fact that code is speech limits how governments can censor software:

https://www.eff.org/deeplinks/2015/04/remembering-case-established-code-speech/

Are models infringing? Well, they certainly can be. In some cases, it's clear that models "memorized" some of the data in their training set, making the fair use, transient copy into an infringing, permanent one. That's generally considered to be the result of a programming error, and it could certainly be prevented (say, by comparing the model to the training data and removing any memorizations that appear).

Not every seeming act of memorization is a memorization, though. While specific models vary widely, the amount of data from each training item retained by the model is very small. For example, Midjourney retains about one byte of information from each image in its training data. If we're talking about a typical low-resolution web image of say, 300kb, that would be one three-hundred-thousandth (0.0000033%) of the original image.

Typically in copyright discussions, when one work contains 0.0000033% of another work, we don't even raise the question of fair use. Rather, we dismiss the use as de minimis (short for de minimis non curat lex or "The law does not concern itself with trifles"):

https://en.wikipedia.org/wiki/De_minimis

Busting someone who takes 0.0000033% of your work for copyright infringement is like swearing out a trespassing complaint against someone because the edge of their shoe touched one blade of grass on your lawn.

But some works or elements of work appear many times online. For example, the Getty Images watermark appears on millions of similar images of people standing on red carpets and runways, so a model that takes even in infinitesimal sample of each one of those works might still end up being able to produce a whole, recognizable Getty Images watermark.

The same is true for wire-service articles or other widely syndicated texts: there might be dozens or even hundreds of copies of these works in training data, resulting in the memorization of long passages from them.

This might be infringing (we're getting into some gnarly, unprecedented territory here), but again, even if it is, it wouldn't be a big hardship for model makers to post-process their models by comparing them to the training set, deleting any inadvertent memorizations. Even if the resulting model had zero memorizations, this would do nothing to alleviate the (legitimate) concerns of creative workers about the creation and use of these models.

So here's the first nuance in the AI art debate: as a technical matter, training a model isn't a copyright infringement. Creative workers who hope that they can use copyright law to prevent AI from changing the creative labor market are likely to be very disappointed in court:

https://www.hollywoodreporter.com/business/business-news/sarah-silverman-lawsuit-ai-meta-1235669403/

But copyright law isn't a fixed, eternal entity. We write new copyright laws all the time. If current copyright law doesn't prevent the creation of models, what about a future copyright law?

Well, sure, that's a possibility. The first thing to consider is the possible collateral damage of such a law. The legal space for scraping enables a wide range of scholarly, archival, organizational and critical purposes. We'd have to be very careful not to inadvertently ban, say, the scraping of a politician's campaign website, lest we enable liars to run for office and renege on their promises, while they insist that they never made those promises in the first place. We wouldn't want to abolish search engines, or stop creators from scraping their own work off sites that are going away or changing their terms of service.

Now, onto quantitative analysis: counting words and measuring pixels are not activities that you should need permission to perform, with or without a computer, even if the person whose words or pixels you're counting doesn't want you to. You should be able to look as hard as you want at the pixels in Kate Middleton's family photos, or track the rise and fall of the Oxford comma, and you shouldn't need anyone's permission to do so.

Finally, there's publishing the model. There are plenty of published mathematical analyses of large corpuses that are useful and unobjectionable. I love me a good Google n-gram:

https://books.google.com/ngrams/graph?content=fantods%2C+heebie-jeebies&year_start=1800&year_end=2019&corpus=en-2019&smoothing=3

And large language models fill all kinds of important niches, like the Human Rights Data Analysis Group's LLM-based work helping the Innocence Project New Orleans' extract data from wrongful conviction case files:

https://hrdag.org/tech-notes/large-language-models-IPNO.html

So that's nuance number two: if we decide to make a new copyright law, we'll need to be very sure that we don't accidentally crush these beneficial activities that don't undermine artistic labor markets.

This brings me to the most important point: passing a new copyright law that requires permission to train an AI won't help creative workers get paid or protect our jobs.

Getty Images pays photographers the least it can get away with. Publishers contracts have transformed by inches into miles-long, ghastly rights grabs that take everything from writers, but still shifts legal risks onto them:

https://pluralistic.net/2022/06/19/reasonable-agreement/

Publishers like the New York Times bitterly oppose their writers' unions:

https://actionnetwork.org/letters/new-york-times-stop-union-busting

These large corporations already control the copyrights to gigantic amounts of training data, and they have means, motive and opportunity to license these works for training a model in order to pay us less, and they are engaged in this activity right now:

https://www.nytimes.com/2023/12/22/technology/apple-ai-news-publishers.html

Big games studios are already acting as though there was a copyright in training data, and requiring their voice actors to begin every recording session with words to the effect of, "I hereby grant permission to train an AI with my voice" and if you don't like it, you can hit the bricks:

https://www.vice.com/en/article/5d37za/voice-actors-sign-away-rights-to-artificial-intelligence

If you're a creative worker hoping to pay your bills, it doesn't matter whether your wages are eroded by a model produced without paying your employer for the right to do so, or whether your employer got to double dip by selling your work to an AI company to train a model, and then used that model to fire you or erode your wages:

https://pluralistic.net/2023/02/09/ai-monkeys-paw/#bullied-schoolkids

Individual creative workers rarely have any bargaining leverage over the corporations that license our copyrights. That's why copyright's 40-year expansion (in duration, scope, statutory damages) has resulted in larger, more profitable entertainment companies, and lower payments – in real terms and as a share of the income generated by their work – for creative workers.

As Rebecca Giblin and I write in our book Chokepoint Capitalism, giving creative workers more rights to bargain with against giant corporations that control access to our audiences is like giving your bullied schoolkid extra lunch money – it's just a roundabout way of transferring that money to the bullies:

https://pluralistic.net/2022/08/21/what-is-chokepoint-capitalism/

There's an historical precedent for this struggle – the fight over music sampling. 40 years ago, it wasn't clear whether sampling required a copyright license, and early hip-hop artists took samples without permission, the way a horn player might drop a couple bars of a well-known song into a solo.

Many artists were rightfully furious over this. The "heritage acts" (the music industry's euphemism for "Black people") who were most sampled had been given very bad deals and had seen very little of the fortunes generated by their creative labor. Many of them were desperately poor, despite having made millions for their labels. When other musicians started making money off that work, they got mad.

In the decades that followed, the system for sampling changed, partly through court cases and partly through the commercial terms set by the Big Three labels: Sony, Warner and Universal, who control 70% of all music recordings. Today, you generally can't sample without signing up to one of the Big Three (they are reluctant to deal with indies), and that means taking their standard deal, which is very bad, and also signs away your right to control your samples.

So a musician who wants to sample has to sign the bad terms offered by a Big Three label, and then hand $500 out of their advance to one of those Big Three labels for the sample license. That $500 typically doesn't go to another artist – it goes to the label, who share it around their executives and investors. This is a system that makes every artist poorer.

But it gets worse. Putting a price on samples changes the kind of music that can be economically viable. If you wanted to clear all the samples on an album like Public Enemy's "It Takes a Nation of Millions To Hold Us Back," or the Beastie Boys' "Paul's Boutique," you'd have to sell every CD for $150, just to break even:

https://memex.craphound.com/2011/07/08/creative-license-how-the-hell-did-sampling-get-so-screwed-up-and-what-the-hell-do-we-do-about-it/

Sampling licenses don't just make every artist financially worse off, they also prevent the creation of music of the sort that millions of people enjoy. But it gets even worse. Some older, sample-heavy music can't be cleared. Most of De La Soul's catalog wasn't available for 15 years, and even though some of their seminal music came back in March 2022, the band's frontman Trugoy the Dove didn't live to see it – he died in February 2022:

https://www.vulture.com/2023/02/de-la-soul-trugoy-the-dove-dead-at-54.html

This is the third nuance: even if we can craft a model-banning copyright system that doesn't catch a lot of dolphins in its tuna net, it could still make artists poorer off.

Back when sampling started, it wasn't clear whether it would ever be considered artistically important. Early sampling was crude and experimental. Musicians who trained for years to master an instrument were dismissive of the idea that clicking a mouse was "making music." Today, most of us don't question the idea that sampling can produce meaningful art – even musicians who believe in licensing samples.

Having lived through that era, I'm prepared to believe that maybe I'll look back on AI "art" and say, "damn, I can't believe I never thought that could be real art."

But I wouldn't give odds on it.

I don't like AI art. I find it anodyne, boring. As Henry Farrell writes, it's uncanny, and not in a good way:

https://www.programmablemutter.com/p/large-language-models-are-uncanny

Farrell likens the work produced by AIs to the movement of a Ouija board's planchette, something that "seems to have a life of its own, even though its motion is a collective side-effect of the motions of the people whose fingers lightly rest on top of it." This is "spooky-action-at-a-close-up," transforming "collective inputs … into apparently quite specific outputs that are not the intended creation of any conscious mind."

Look, art is irrational in the sense that it speaks to us at some non-rational, or sub-rational level. Caring about the tribulations of imaginary people or being fascinated by pictures of things that don't exist (or that aren't even recognizable) doesn't make any sense. There's a way in which all art is like an optical illusion for our cognition, an imaginary thing that captures us the way a real thing might.

But art is amazing. Making art and experiencing art makes us feel big, numinous, irreducible emotions. Making art keeps me sane. Experiencing art is a precondition for all the joy in my life. Having spent most of my life as a working artist, I've come to the conclusion that the reason for this is that art transmits an approximation of some big, numinous irreducible emotion from an artist's mind to our own. That's it: that's why art is amazing.

AI doesn't have a mind. It doesn't have an intention. The aesthetic choices made by AI aren't choices, they're averages. As Farrell writes, "LLM art sometimes seems to communicate a message, as art does, but it is unclear where that message comes from, or what it means. If it has any meaning at all, it is a meaning that does not stem from organizing intention" (emphasis mine).

Farrell cites Mark Fisher's The Weird and the Eerie, which defines "weird" in easy to understand terms ("that which does not belong") but really grapples with "eerie."

For Fisher, eeriness is "when there is something present where there should be nothing, or is there is nothing present when there should be something." AI art produces the seeming of intention without intending anything. It appears to be an agent, but it has no agency. It's eerie.

Fisher talks about capitalism as eerie. Capital is "conjured out of nothing" but "exerts more influence than any allegedly substantial entity." The "invisible hand" shapes our lives more than any person. The invisible hand is fucking eerie. Capitalism is a system in which insubstantial non-things – corporations – appear to act with intention, often at odds with the intentions of the human beings carrying out those actions.

So will AI art ever be art? I don't know. There's a long tradition of using random or irrational or impersonal inputs as the starting point for human acts of artistic creativity. Think of divination:

https://pluralistic.net/2022/07/31/divination/

Or Brian Eno's Oblique Strategies:

http://stoney.sb.org/eno/oblique.html

I love making my little collages for this blog, though I wouldn't call them important art. Nevertheless, piecing together bits of other peoples' work can make fantastic, important work of historical note:

https://www.johnheartfield.com/John-Heartfield-Exhibition/john-heartfield-art/famous-anti-fascist-art/heartfield-posters-aiz

Even though painstakingly cutting out tiny elements from others' images can be a meditative and educational experience, I don't think that using tiny scissors or the lasso tool is what defines the "art" in collage. If you can automate some of this process, it could still be art.

Here's what I do know. Creating an individual bargainable copyright over training will not improve the material conditions of artists' lives – all it will do is change the relative shares of the value we create, shifting some of that value from tech companies that hate us and want us to starve to entertainment companies that hate us and want us to starve.

As an artist, I'm foursquare against anything that stands in the way of making art. As an artistic worker, I'm entirely committed to things that help workers get a fair share of the money their work creates, feed their families and pay their rent.

I think today's AI art is bad, and I think tomorrow's AI art will probably be bad, but even if you disagree (with either proposition), I hope you'll agree that we should be focused on making sure art is legal to make and that artists get paid for it.

Just because copyright won't fix the creative labor market, it doesn't follow that nothing will. If we're worried about labor issues, we can look to labor law to improve our conditions. That's what the Hollywood writers did, in their groundbreaking 2023 strike:

https://pluralistic.net/2023/10/01/how-the-writers-guild-sunk-ais-ship/

Now, the writers had an advantage: they are able to engage in "sectoral bargaining," where a union bargains with all the major employers at once. That's illegal in nearly every other kind of labor market. But if we're willing to entertain the possibility of getting a new copyright law passed (that won't make artists better off), why not the possibility of passing a new labor law (that will)? Sure, our bosses won't lobby alongside of us for more labor protection, the way they would for more copyright (think for a moment about what that says about who benefits from copyright versus labor law expansion).

But all workers benefit from expanded labor protection. Rather than going to Congress alongside our bosses from the studios and labels and publishers to demand more copyright, we could go to Congress alongside every kind of worker, from fast-food cashiers to publishing assistants to truck drivers to demand the right to sectoral bargaining. That's a hell of a coalition.

And if we do want to tinker with copyright to change the way training works, let's look at collective licensing, which can't be bargained away, rather than individual rights that can be confiscated at the entrance to our publisher, label or studio's offices. These collective licenses have been a huge success in protecting creative workers:

https://pluralistic.net/2023/02/26/united-we-stand/

Then there's copyright's wildest wild card: The US Copyright Office has repeatedly stated that works made by AIs aren't eligible for copyright, which is the exclusive purview of works of human authorship. This has been affirmed by courts:

https://pluralistic.net/2023/08/20/everything-made-by-an-ai-is-in-the-public-domain/

Neither AI companies nor entertainment companies will pay creative workers if they don't have to. But for any company contemplating selling an AI-generated work, the fact that it is born in the public domain presents a substantial hurdle, because anyone else is free to take that work and sell it or give it away.

Whether or not AI "art" will ever be good art isn't what our bosses are thinking about when they pay for AI licenses: rather, they are calculating that they have so much market power that they can sell whatever slop the AI makes, and pay less for the AI license than they would make for a human artist's work. As is the case in every industry, AI can't do an artist's job, but an AI salesman can convince an artist's boss to fire the creative worker and replace them with AI:

https://pluralistic.net/2024/01/29/pay-no-attention/#to-the-little-man-behind-the-curtain

They don't care if it's slop – they just care about their bottom line. A studio executive who cancels a widely anticipated film prior to its release to get a tax-credit isn't thinking about artistic integrity. They care about one thing: money. The fact that AI works can be freely copied, sold or given away may not mean much to a creative worker who actually makes their own art, but I assure you, it's the only thing that matters to our bosses.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/05/13/spooky-action-at-a-close-up/#invisible-hand

[headlessdino]

fanon vs canon batfam

the way that the batfam fandom can change the characters so much makes me go INSANE because like... did we read the same comics orrrrrr................ I GET THAT NOT EVERYONE LIKES READING but they can watch shows or just interact content rather than making content in which the characters are heavily mischaracterized. that brings me to what this post is actually about.

fanon dick: best brother ever, has a good ass, nice to everyone, happy-go-lucky, peacemaker, happy robin, his ass, sensitive, hugs a lot, kind of dumb, but he has an ass so it's okay, did i mention his ass?

canon dick: more serious than in fanon, can be manipulative, driven, angry as robin, pretty sociable, can be an asshole, very trusted and respected hero, empathetic, puts others before himself

fanon jason: swears excessively, angry robin, hyper masculine, kills a lot, reckless, loner, undying hatred toward bruce, almost always aggressive, calls tim replacement and holds an insane grudge against him

canon jason: "robin gives me magic c: ", willing to kill when the situation calls for it, strong moral code, not angry at the fact that bruce "let" him die, not super close to the batfam tbh

fanon tim: coffee addict, outcast, sad all the time, gets no bitches, has no social skills, complete and utter nerd, has no spine and lets himself get bullied, kind of irrelevant, built like a twig, shy uwu boi bean (sorry) (i shed a few tears typing that out), only smart person in the batfam ever, "pure", kind of kid to get bullied and have his lunch money stolen from him, has abusive parents and has never felt an ounce of love from anyone ever

canon tim: more of an energy drink guy, pretty chill, has dated around and doesn't really struggle socially, skateboards, a VIGILANTE who has a decent amount of muscle (woah who would've guessed), kind of insane but also pretty normal compared to what they say he's like in fanon

i could keep going and talk about damian being characterized as violent but also like he's a baby or bruce being treated like a perfect parent OR an abusive one but i'm tired so i'm gonna leave it at that

[casscainmainly]

How do you think cass is like as a big sister? Considering she’s like the second oldest sibling in the batfam

I think her big sistering is VERY dependent on the sibling. The person she's the best older sibling for is probably Duke, given that she's had the most time getting used to being a sister, and they have the most drama-free and cute relationship. She adores him and fully embraces her role as his older sister, and he adores her in return!

Tim is the second best sister-brother relationship. They didn't start out as siblings which makes some of their early interactions... um... un-sibling-like (see Tim's reaction to her in Babs' Batgirl suit), but after that initial bump they get along very well and trust each other implicitly (see Batgirl (2008) and Red Robin (2009)). She's not exactly an older sister to him, though, since they act much more like equals; and their differing opinions on Bruce/Batman sometimes drive a wedge between them. Very sibling-coded to argue over your dad, though.

Damian is a bit weird for her. He has a lot in common with her, but in some ways their experiences are complete opposites - he was raised to think of himself as important, while Cass was raised to think of herself as a tool. In Gates of Gotham, Cass does earn Damian's trust, but she doesn't really wanna deal with him and explicitly is like 'yeah Tim he's your problem'. I think they avoid each other, honestly, and when they do interact it's cordial but not close. She doesn't do much big sistering for him and they're both fine with that.

Last but not least is our favourite dead boy Jason Todd. Cass definitely lords her 'older' status over him, but not her 'sister' status so much; they are the least close to each other of maybe any pairing in the Batfam. They are also two of the most abrasive personalities in the family, so besides the morality stuff they just don't like each other. The 'big sistering' here is more of the insults, snide comments, fist-fighting variety. Duke is the only person both would hold a truce for, and that is very tenuous.

So overall she's like a 5/10 older sister, which is honestly impressive for someone who spent the majority of her life heavily isolated. If you asked her four younger brothers if she was a good sister, Duke and Tim would say yes, Damian would say she's okay, and Jason would tell you to go to hell.

[thesevenstarfoxes]

Unpopular Opinion™ But I think Jason and Stephanie should not get along at all. In fact, I think they should hate each other with the power of a thousand suns. "But they are so similar!" And that's exactly why they won't be able to stand each other. When Steph looks at Jason, she is furious. She feels extremely uncomfortable. She is terrified. She knows that in another life, with only slightly different choices, she'd be not much different from this bitter crime lord, and it horrifies her. It's not only that, but also that… Bruce loved him. Bruce loved him! His family mourned him deeply, they mourn him to this day, and he just threw it all away for some stupid revenge?! He had a family! He was loved and appreciated! Stephanie didn't even accept a glass cabinet in the cave. Is Jason upset that he wasn't saved? Is Jason upset that he was replaced? Bruce let her be Robin just so he could get Tim back! Bruce treats everyone like shit, Jason! Everyone in this family has died at least once. grow up! When Jason looks at Stephanie, he is furious. He is frustrated. He is terrified. He knows this is what he could have been. He looks at this innocent girl, who lets Bruce continue to take advantage of her over and over and over even though he treats her like garbage, and he knows that in another life, he's in the same place as her. How is she able to keep smiling after what happened to her? How can she look at Bruce after what he did to her? Why does she obey this idiot's moral code when she has experienced for herself what this rule results in? Doesn't she understand that she's only hurting herself? Is she so naive and stupid?! When they look at each other, they see a stupid person who is blind to something that for them is more important than anything. They can see every single one of their flaws, and it horrifies them. For them, the other is a nightmarish, dark version of themselves. Neither of them is wrong or right, they are simply too caught up in the way they see the world to see each other's truth and understand it.

[zahri-melitor]

I need to not let jokes irritate me, but for the record:

Tim's morality doesn't come 'from a list on the fridge from Batman' or 'not wanting to be gun Batman'.

Tim, at his core, decided that he could not be a bystander when things were going wrong, and chose to step up and help. When faced with the decision of "someone has to do this difficult thing" he said "I'm someone", after trying to get someone with more training and expertise to take the role. And when he was older and there were others who could take the support role he had found for himself, he chose again to stay with his allies and follow the mission and protect Gotham, because the job was not complete.

"[Dick] taught me to never back away from any possibility that might lead to the truth."

When Tim thought he'd killed a criminal in the course of arresting them? He beat himself up with guilt and trained harder and in even more investigative and fighting techniques to stop it happening again.

But the clone lab/Lazarus water/blowing up Ra's bases/Captain Boomerang! Yes, those are things that Tim did at his lowest, when he was hurting from an enormous amount of loss. And he: chose to stop attempting the cloning and apologised to Conner for it on Kon's return; poured out the Lazarus water; look was admittedly pretty dodgy here but it's not like it's the first time Bat characters have destroyed Lazarus Pits on purpose; and chose to save Boomerang. He did not go through with things when people close to him reached out and acknowledged his pain.

What, other people blew up Lazarus pits? Yeah for a while there Bruce was funding Bane to run around the world destroying them and handing over details of known ones...look it's a whole involved thing due to fallout from Legacy and a conspiracy to convince Bane that he was Bruce's half brother, don't worry about it.

Bruce and Dick have both had to be restrained from killing, on occasion, when caught in rage and despair. There have been deaths that they didn't intervene in, and guilt they ALSO carry over this. Babs' moral code includes working with criminals, stealing money from corrupt officials and international conglomerates and hacking processing power from the Pentagon. Cass, after swearing to never kill again, broke Shiva's neck and hung her over a Lazarus pit to fall in because that didn't QUITE meet her definition of killing. It's not about 'are your ethics pure at all times'. It's about the choices they've made, even after a mistake.

Tim fears he's become too like Bruce at his most rigid and analytical on occasion (16th birthday paranoia; developing protocols when he was older which he insisted he wouldn't when he was younger; 'testing' himself with Boomerang). His reaction has been that it was even MORE important to him to ensure that he's acting in an ethical manner, and he's consistently passed that test.

He's not fated to be evil. There are afaik three (3) future/alternate universe storylines where Tim 'goes evil'. One is DCAU, where he was made Joker Jr because the Diniverse doesn't HAVE a Jason, Tim there is a composite (plus you know, he was tortured to that point). The second is Earth-3, which is, I remind you, the 'good and evil are reversed' universe. The third is Titans of Tomorrow. Future Evil Tim gets occasional storylines because it's a compelling mirror to hold up to Tim's ACTUAL morality.

Plus, if there is one single person who could be said to determine Tim's ethics and appears at the centre of his moral code, it's OBVIOUSLY Dick, not Bruce *waves at Bruce Wayne: Murderer/Fugitive and Resurrection of Ra's al Ghul*

[witherby]

Omg hi!!! I love your mer!reader series and I was wondering if you take request? If so could you do batfamily headcanons in squid game? (You don't have to of course.) I just finished season 2 and im really excited for season 3.

Love you and keep writing❤️

Hi there! I can sure try!!! I only ever saw season 1 and that was like two years ago but I'll do my best!

( This is operating off the assumption that they are not all in the game together, otherwise they'd all make it out very easily. )

BRUCE WAYNE:

He's killing it. Not literally — moral code and all — but he's crushing this competition. Bruce Wayne's picture is in the dictionary when you look up "Strategist." He got into the games voluntarily and he will get back out alive, no question. He's doing what he can to help other players survive, but he didn't go in as Batman so he doesn't have any of the gear to help as effectively as he could've. He's gotta play it creatively and in a way that doesn't get him or anybody else disqualified for cheating. It doesn't take long for him to find any loop holes in game rules that allow for multiple people to get out of it alive.

Bruce entered the games, not for money, but to find out who is behind them and bring them to justice, so that no other financially disparaged people have to consider putting their lives on the line in order to clear their debts and start fresh.

DICK GRAYSON:

I feel like he didn't end up here on purpose. I really think he either signed up for something and thought it was a silly lil competition, or that the organizers of the game kidnapped the wrong guy and Dick just went with it because he had nothing better to do. Either way, he's here, he's intrigued, and he's gonna save everybody he can while keeping your spirits up.

The jokes never stop. He never stops. Motormouth is what the other contestants end up calling him. Dick makes one of the masked guards snicker once before they get whisked away, and that does make him feel quite a bit bad. Dick's not immediately looking to destroy the system from the inside out (he'll come back and do that after the games are over). Instead, I think his goal would be to convince all the surviving players that they should vote to end the games and go back home. He'd try to be their voice of reason, to convince them that there are better ways to pick themselves up and rebuild their lives than risking death just to get some fast cash. And I think it works.

TIM DRAKE:

Tim is the opposite of Dick. He was not invited to play but he did deliberately steal another contestant's spot to get put into the game. Like Bruce, he's already out-logic'd most of the competitions to create the most amount of survivors, but he also came prepared. The deadliest competitions are suddenly sabotaged not to be as deadly, or not to work at all. Hidden weapons being offered to other players to start a riot and dwindle the numbers have all suddenly been replaced with soft foam bats and nerf guns.

He already knows who's behind the whole thing, he just needed an in so he could tear it all down quickly and cleanly. When Tim is done, he'll be missing for 48 hours at the absolute max, and leaving that place with justice done and a huge, smug smirk on his face. What, like it was hard?

DAMIAN WAYNE:

Damian is tough. I think he caught wind of the whole operation and went undercover as one of those masked game monitors/referees so he could also dismantle it from within, but with less computer hacking and sabotage, and more slashing. I think this method works best as early Damian, who has barely been introduced to his dad for like a week, before he just drops off the face of the planet for a couple days and comes back blood-soaked.

"Hello, father. That suspicious money scheme you had your eyes on? I solved the problem. What do you mean, what am I covered in? Would you believe me if I told you it was ketchup? By the way, your No Killing rule is stupid."

JASON TODD:

Post-resurrection, he's not doing anything with any subtlety. At least Damian took the time to work his way in with a disguise. Red Hood is finding out where the whole shindig is taking place, gathering a crew, kicking doors down, and setting it ablaze. He doesn't have time for games, and the longer he waits to act the more innocent people are dying. He shoots the giant money ball down and lets the players collect it freely, tells them how to leave, and peaces out without looking back. In and out, job done, on to the next one.