This? Is a Timblr.
- "Thank you for the quote, I’ll keep it in mind and get back to you sometime when I’m able to commission you!"
- "That’s a little out of my budget for the time being, but thank you for your time. I’ll contact you again if/when I am able to pay!"
- "I appreciate the quote, but i’ve decided to wait on the commission, thank you!"
- "I understand your prices and that they are fair, but I am unable to afford this for the time being! Good luck on the rest of your commissions."
What NOT to say when an artist quotes your commission higher than you expected:
- ”@-@ Holy crap that’s expensive!!”
- "Could you maybe give me a tumblr follower discount? :3"
- "Your prices are too high!!!!"
- "Really?? Just for a sketch? I could draw it for half that!!"
Treat artists like human beings. We gotta eat too. Commissioning an artist is not different from any other contract work. You’re not going to ask your dentist for a discounted root canal or tell your contractor his cabinets are too expensive, don’t ask artists to change their prices because you perceive them as too high. More than likely, an artist taking commissions from the internet are drastically under charging themselves already. Please be respectful and understanding that art is a skill and not a favour.
Man, what to even *do* with this episode!
This is one of the eps which, for me, contained twists which were mostly unpredictable — yay!
And also showed a lot of well-used research on the causes of small plane crashes — yay!
But of course y’all know I’m here for the relationship development, right? Right.
Vague spoilers below, pretty much none involving the A-plot.
One reason I’m always going to have a mental disconnect between Jason Todd’s original time in comics and his post-resurrection stuff is because I feel like there was something fundamentally 1980s about his time as Robin.
It’s not just the whole post-DKR let’s-make-comics-gritty-and-grimdark thing, either. The whole concept of New York’s criminal underbelly was a cultural mainstay in everything from that era in a way that just isn’t true anymore. It’s not that there aren’t still teen street toughs anymore, obviously, but “teen street tough” was a whole Social Issue in the 80s.
And basically all of Jason’s stories in that scant handful of comics are incredibly eighties stories in that way — black markets and drug dealers and shady criminals who prey on the weak, people brutalised and traumatised and killed by their contact with this seedy netherworld.
So, like, it doesn’t translate to a sliding timeline without a whole lot of cognitive disconnect. Boogeymen and social problems of 1985 are completely nonsensical if you make it so they were in 2005, because New York’s crime rate was down by like eighty percent or something by then. It was an entirely different cultural conversation taking place about what that city meant, narratively.
Jason Todd is a messed-up, violent little dude from a messed-up, violent world, trying to hold back a tide of terrors that people genuinely believed was going to swallow the daylight world entirely. So there’s always a cognitive disconnect when you make his past more recent.
Maybe that works in the character’s favour — it makes him seem out of place, out of step, in stories about his current life. But it makes it nearly impossible to properly tell stories about when he was Robin, and have them mean the same thing they did then.
You know, I hadn’t thought about it that way, but this probably has a lot to do with why my rough-and-tumble Batfamily-and-a-little-beyond timeline is what it is, and why it stays so *solid* in my brain when I change so MANY other things about canon (and ‘canon’, and fanon) to suit me.
Having Jay born in 1983 or so (And Bruce in 1960, and Babs somewhere between 1969-1972, and Dick and most of the other Titans in the mid-70s, and Cass in the early 80s, and Tim and Steph in the mid-80s, and Damian in the early 90s, and etc.) just makes more *sense* to me in terms of their characters, and how I think of them, and their particular issues.
(Okay, not so much Damian, but…)
Part of that is the mish-mash of 90s comics, where what they imagined for the internet is downright embarrassing and bizarre, but what they imagined for artificial intelligence and robotics was — and is — science fiction.
Part of that is the fact that Gotham is and always has been a special case. Never quite an American city, as opposed to a city of Extremes that exists everywhere and nowhere. A city that looks like everything from London at the height (and depth) of the Industrial Revolution, to a cartoonist’s bad trip, to a steampunk fantasy, to Detroit’s worst nightmare.
And that’s just what you get in one *week’s* worth of comics.
When I think to myself “well, cities weren’t really like this in the 90s and the 00s”, I just point to No Man’s Land and remind myself that comics canon always wants me to know that Gotham is Gotham, built on a pentagram, seasoned with blood sacrifice, built on the nightmares and ambitions and atrocities of Waynes and Arkhams and everyone who got in their way.
I still can’t advance my timeline any farther.
My reasoning usually has more to with my complete failure to imagine Thomas and Martha young in any era past the 60s, though.
Who knows what tomorrow(’s AU) will bring, though?