#But most people don't want Batman to need constant saving

[wesavegotham]

Look, I agree that Tim is being mishandled by DC, they clearly don't know what to do with him and what they do isn't working/selling.

But that is not the same as being hated by DC. DC doesn't hate Tim. If you listen to some interviews you realize pretty fast he's most current writers favorite Robin because they grew up with him.

I don't think any of the writers who tried to do something with Tim these past few years hated Tim and wanted to ruin him. Their direction for Tim just simply didn't connect with Tim's (comic buying) fanbase.

That's not the same as DC shooting Dick in the head and letting him run around as Ric for...was it two years? It's not the same as Jason being treated as a mistake who is constantly unfairly blamed for his own death. It's not the same as Cass being turned into a dragon lady so Tim would have a villain to fight. It's not the same as DC character assassinating Damian because they wanted to kick him out of the Robin mantle and use as the big bad of 5G.

Tim hasn't been selling for years yet they keep trying to make him work. They aren't succeeding, but that doesn't mean they hate him. I think it means they love him.

Because at the end of the day DC is a business and yet they keep trying to make Tim work even if he doesn't sell while they have no problem sabotaging a character like Damian even though he's selling more comics than Tim.

Trying to make Tim work is not a rational financial decision, it's a decision born out of love and nostalgia.

[celaenaeiln]

One of Dick's greatest strengths is his ability to manipulate every single person in existence.

Genuinely I think this makes him the smartest person in the room. Not only is he a brilliant detective, but the fact that he's able to outmaneuver and control virtually everyone including other geniuses and masterminds makes him the most terrifying. There's a reason why his enemies have give up using intelligence against him and simply resorting to brute force.

Now hold your horses before you bring your crowbars and let me explain.

Dick once said, "On an even playing field, I always win."

And it's true. But how do you even the field if your enemies are geniuses, detectives, or metas?

"Well, if you don't like how the table is it, turn over the table."

And that's exactly what Dick does.

Let's begin from his younger years. Dick is 19, newly out of Batman's wing and in no position to take on a skilled mercenary on by himself. But the mercenary isn't going to stop just because he says please. So.

DEATHSTROKE WAS CLEARLY NOT EXPECTING TO GET OUTPLAYED BY A 19 YEAR OLD.

"You're right Slade, he's not a fool so choose a dumber kidnapping victim next time."

Ofcourse this is the least of his abilities.

This cover is perfect because it shows how two of them are literally in a constant game of chess. And evidence of Dick's tactical expertise was never more obvious than the bombing of Bludhaven.

By all means Dick had won.

And he's right. Dick is incredibly intelligent, and he has to be given how he maneuvered the entirety of the world to save him city. Not just the heroes and villains, but everyone - the heroes, the villains, the government, the civilians, the organized crime - everyone. He ruled the freaking world at that moment.

@haroldhighballjordan actually made a post about this that explains this scene so well

But yeah Slade knew he lost so in his petty vengeance what he basically did was set the whole fucking chessboard on fire.

The perfection to which Dick had calculated and moved millions of people to force Slade into abandoning their game and leave him shrieking and seething in rage over his loss. Another reminder that this game only happened because Dick manipulated Rose away from her father, away from his control to a better life.

Spyral is one of my favorite comics because it shows just how good of a manipulator Dick Grayson is.

One of Dick's coldest traits is his ability to manipulate a situation to fit his needs.

In the beginning Dick wanted to calm the meta down and take him in but the second his opponent let out the slightest hint of weakness, look how fast he flips his words. This man is brilliant.

And his planning came to fruition as the meta wore himself out, allowing Dick to take control of the situation and the opponent with no harm to himself-a quick, two second exit. He can manipulate emotions, thoughts, and people to get what he wants like he's playing chess with a child.

But it's not just other people- he can completely change himself to become a whole new person. In the earlier chapters, Dick is learning how to shoot a gun for the agency.

Dick's a terrible shot. Not a single bullet lands in the center of the target-there's no way he's ever going to shoot well....or atleast that's what he wants you to think-

"Yeah, well, that's what spies do."

"We lie."

He's a puppet master and the final boss.

part 2

[modernday-orpheus]

Okay, hear me out. If Tim idolized Batman instead of Robin, Bruce would be dead.

Disclaimer: I am not perfect and don't know everything there is to know about comics! Some shit here may be accidentally based on fanon rather than canon! Please be nice!

Tim, of course, respects and looks up to Batman. Bruce is his mentor and his father, so it's safe to assume he loves him as well. But his Hero™ is and always has been Robin, Dick at first but especially Jason judging by the timeline. Most people in Gotham view Robin as an addendum, an extra, nothing more than a kid sidekick. They’re disappointed if her shows up without Batman, and question his abilities. Tim’s hero worship combined with his knowledge of their identities, in this case, allows him to see things as they truly are. For Tim, Robin is a light in the dark, a balancing act with Batman, not his sidekick but his partner. He’s a necessary part of the Dynamic Duo because while Batman represents Justice, Robin represents this Hope for a better future. Sure, he’s just a kid; by all accounts he shouldn’t even be out there fighting, but maybe, if he is, no other kids won’t have to fight as hard just to survive. He represents the soul of Gotham, underneath the criminality and corruption; a city full of people, tough-as-nails, saying “No, fuck you, this is our city” despite the constant danger. He represents the people who come together in times of crisis, who help out their neighbors when each new disaster strikes. He’s trained in martial arts, of course, and he’s a skilled fighter, but Robin’s primary job is always the safety of civilians. He’s the one that gets scared little kids out of a burning building while Batman keeps the villain of the week busy, the one who stays behind with SA victims walks them home because Batman is too much for those things. He uses fear where Robin uses kindness, compassion, and love.

Tim sees this. So, when Robin dies and Batman is getting rougher, more violent, more careless, he notices. He notices that Bruce is picking bigger fights than he can handle, taking hits he could dodge, breaking four ribs instead of two, barely making it back to the manor each night. If he idolized Bruce, at this point, he would trust him the way the rest of Gotham does. He would assume it was a rough patch, and Bruce would recover, and that Batman would always save the day. He would see a solitary hero, the way Batman wants to be seen. He wouldn’t think it necessary to reach out to Dick for help, and even if he did he would think Nightwing would be enough help. He wouldn’t understand the importance of the Robin mantle, the specific role that needs to be filled. Nightwing can represent a lot of things; fluidity, positive change, and freedom come to mind immediately, but there's no world where Nightwing represents Gotham and Hope the same way Robin does. He can’t serve the same purpose anymore, not in that uniform. Bruce would die at Two-Face’s hands in that very first arc, I have not a single doubt in my mind.

Then, as Tim comes back to Gotham post-training and actually starts to help out, it’s common for him to be the conscience. He falls easily into the role of Robin, the role that makes him protector of the innocent. He’s not like Jason, raised by these streets in a very different way, though I wouldn’t say either is better or worse. Where Jason struggled and had to fight, out there each night pre-Bruce out of necessity rather than choice. He knows all the best hiding spots and back-alleys because it kept him alive. He chooses to be Robin because he needed a hero and wants to be that for other people. Tim chose those streets, and he chose them for Robin. He knows the best hiding spots because they put him closer to the action, because he raised himself on all those cold nights alone on rooftops with his camera. He knows the back-alleys because they made him faster, made it so his little kid legs could keep up with his hero so he wouldn’t miss a moment. He lives for Gotham nights, for the thrill of seeing everything, getting to know everything. He chooses to be Robin because where his parents failed to teach him how to be a good person, Robin stepped up. He bases his morals off of watching Robin help people, and because he’s a kid he assumes that it’s normal to behave with altruistic intentions and prioritize others.

There’s a point to be made here, briefly, about how this lends itself to Tim’s self-worth issues and insecurities. If his job is to assist, supplement, guide, and fill in the blanks when Batman fails, he doesn’t have the option of failure. He expects that how he does his job, as long as the job gets done, doesn’t matter because he doesn’t view himself as the hero. He never views himself as a main character in his own story; he truly thinks he’s doing what anyone else in his position would gladly do. This is why he overworks himself, why he’s known for living, for lack of a better term “like a goddamn ninja turtle”. It’s why he’s always Robin or Red Robin or even his public persona Timothy Drake-Wayne but rarely Just Tim. Very few people get to see Just Tim, normal Tim, because if they’re seeing that then he’s not doing his job.

All of these factors lead to Tim’s conclusion that if no one else can get Batman out of this state, least of all Batman himself, of course the next logical conclusion is that it’s his responsibility to step up and do the job. Furthermore, it’s only because he idolized Robin that he can fill the role properly because his relationship to Bruce, especially in the beginning, is nothing like Dick and Jason’s relationships with Bruce. He’s not his kid, doesn’t bring Robin’s joy and hope home, so instead he has to work twice as hard in the field to keep Bruce away from the edge. He’s the first of the Robins to view himself as Batman’s protector rather than the other way around, and he’s the only one who Bruce acknowledges when he tries to fill that role. Bruce accepts it when Tim manages him, reorganizes his files, forces him into the medbay, even when he very occasionally goes as far as to outright scold him rather than just pressure him to make the right choices. He’s given an inch and takes a mile, because he believes (rightfully, in my opinion) that if he doesn't then all hope is lost. And Bruce allows him to help, to guide, as much as he’s willing to because he’s not his kid first. He’s Robin first.

This mentality carries over to the Red Robin arc, where Tim spends an entire year chasing after Bruce to save him. He does it alone, and although he asks for help he doesn’t actually expect it. Furthermore, because his morals are based off of Robin in his infinite altruism rather than Batman with his rigid rules, he doesn’t mind working with Ra’s al Ghul. He doesn’t mind betraying Ra’s by killing his men, by blowing up his bases. He doesn’t tell Bruce about it to protect Bruce from having another murderer under his roof, and because he doesn’t think it matters enough. Bruce isn’t surprised when Tim is the one to save him. I believe he would have been if any other Robin had shown up. He and Dick have had a strained relationship for years, he and Jason aren’t even on speaking terms, Stephanie was so often full of rage at him throughout her run as Robin and is dead at the time, and he doesn’t even really have a relationship with Damian. Aside from all of that, he’s assumed dead. He can’t assume the Justice League will spend their time saving a dead man. And yet, despite all of that, he isn’t surprised when Tim is the one to pull him out of the time stream. He’s disoriented, sure, and a little surprised it was possible for him to be saved at all, and he even wants to hear about how he figured it out, but his doubt is never placed on the fact that Tim would be the one to understand and tear the world apart to bring him home.

I believe this also helps to explain Tim’s struggle with letting go of the Robin mantle, outside of the fact that he was the first to have the choice to move on taken away from him. If he’s always been Robin first, always felt the weight of that on his shoulders, what is he supposed to do when his very identity is stripped away right as he loses everyone who got to really know him as Just Tim? How is he supposed to cope with having to reconstruct his own idea of who he is with no one around to remind him? Humans are social creatures. We learn and grow with and because of each other. He’s encouraged by Dick to grow quickly out of Robin to fill a new role, which is a nice sentiment from Dick’s own point of view, but he’s lacking a sturdy foundation. Not because it’s not actually there, or because he lacks personality or morals, but because he truly views himself and all of his good decisions as just what anybody would do and what Robin is supposed to do. He doesn’t consider that following these morals makes them his, makes them the building blocks for wherever he goes next, he considers them to be traits of a character he no longer plays; a purpose he no longer serves.

(This is the second time I've posted this, so if you see another version that's why!)

[faytelumos]

Bestie when you have the energy, we need to discuss established bruharvey where Bruce, even if he's like the richest mf in the world, is widely known to be two-face's sugar baby

The funny thing is, they're still enemies in the field? But at home? Bruce tends to Harvey's mild wounds and listens to his complaining abt batman like. Yes honey he is a menace and yes I do know you could've taken him and no I won't leave you for him i promise

And as Batman AND bruce, our boy has to save his ass everytime. Imagine kidnapping Harvey and his kept man husband wipes the floor with you bc you interrupted family night sjsjsjs

Okay, okay, okay, so several thoughts:

Two-Face is a crime lord, and Harvey is smart as hell. Together, they'll make a formidable empire within and outside of Gotham.

With all of the different types of cash flow Two-Face has set up and the grade-A hierarchy he undoubtedly set up to keep things running in his absence, Two-Face is going to be very rich. More than rich enough to have a sugar baby pre-loaded with SpoiledRotten.exe

Is it icky for Bruce to accept gifts from blood money? Probably. Does he love Harvey and ache for the feeling of being taken care of to contrast the constant and obsessive impulse to be in control of a situation?

Yes.

I think you're absolutely right and Bruce and Harvey knows each other much, much better than they know a lot of other people. There's a level of intimacy in their kind of long-lasting relationship (regardless of the nature of that relationship at any given time) that is simply so rare. They're entangled, and it reaches so far back for both of them.

[Idea: Bruce and Harvey are reincarnated together again and again.]

I'm a firm believer that Bruce is a sub because he is constantly holding onto absolutely every string and situation he can find and it is exhausting to live like that. In his best and most relaxed frame of mind he wants someone to take care of him, and I think Two-Face specifically would jump at the chance.

Maybe this is just me projecting or whatever, but I think Two-Face is confused by the way of the world. No situation is ever certain, you can never be sure of an outcome given all of the wild variables of life, and it's scary. He wants things to get done, he needs things to happen, and even when you're following the systems and the rules and the paths that shit is supposed to get better through, nothing! Works! Out!

But Bruce…. Bruce is constant. Bruce is there always, in one way or another. Even when he's so mad, even when Two-Face has fucked up royally, Bruce is still there. And Two-Face isn't sure of a whole lot, but he sure that he wants Bruce to be good and safe.

Two-Face would love to take care of Bruce because even if he messes up (which he won't because Bruce is precious and he's going to take good care of him), Bruce will always give him another chance. Two-Face is just trying to do the best he can and Bruce always knows that and Two-Face wants to pay him back for that faith, for that loyalty, for keeping him sane in this disgusting mess of a world.

So Bruce the Sugar Baby is something that both of them would gravitate towards.

Two-Face and Bruce is borderline domestic; Two-Face is sharp lines and rough edges and hands that hold too hard, but he wants to be soft for Bruce. And it works because Bruce doesn't always know what soft is, and Two-Face is so deliberate and mindful that it feels the same.

But it can be very different when Two-Face and Batman are in the room together.

Batman doesn't want to be taken care of and he can't give up control of a situation. It may seem petty, but Two-Face hates dealing with Bruce with that stupid cowl on his face because he is just the worst.

I don't think Two-Face and Batman get along nearly as well because they're both in their dominant head-spaces. Two-Face is trying to control the situation to protect Harvey, and Batman is trying to control the situation to protect Gotham, and because of the difference of scope of these goals, they butt heads.

However!

When people Bruce loves are in trouble, he goes a little feral. Gotham fades in the background, and he'll do whatever it takes to get his people out.

And Two-Face, I can imagine, is a little tickled by this.

Like, no, he doesn't need Bats' help, thank you very much. He doesn't need to be rescued, he's perfectly capable, he could have gotten out of it himself. But damn does he look good clearing the room. He'll let himself get snatched up (as long as there's no real danger to Harv) to get a nice view of that action.

Yes, Bats, he could have gotten out of those binds at any time. No, he will not be repeating this position later in the privacy of their own home.

---

---

---

[lazaruspiss]

recently realized that dick had a relationships with all three of his rapists beyond one incident, like he lived with liu and eddie for a while, mirage posed as kori for an extended period of time and we really have no way of knowing how long he was with catalina, this creates a pattern of people that he knows betraying him and using him for their own gratification

which makes me think of his relationships with his family and friends rn, if one of them started crossing boundaries would he accept it? would he even have expected it? if babs didn’t hear him say wait one night would he know that it’s a mistake or would he think “ah, you too?”

like he loves his family and trusts them with his life but I don’t think he can trust them not to hurt him and that includes sexually, part of it is the constant paranoia that comes with being a vigilante for almost two decades and part of it is unprocessed trama but thinking anyone could start to abuse him probably isn’t good for his health or for his relationships lmao

oh for sure for sure!! im also fairly convinced dick would struggle seeing any of those incidents as rape. the liu incident doesn't meet the proper legal qualifications, he was at times blamed by his own team for what happened with mirage, and so much plays into the situation with catalina that im not sure he'd even be able to process it at all. the murder takes priority, and he'd see it more through a lense of him failing to save cat than him being assaulted.

dick wouldn't /want/ to have been assaulted, so i don't think he'd categorize any of that as rape. if others cross boundaries, he might justify/minimize it out of habit. less that he thinks anyone could/would abuse him, and more that he would never recognize harm done to him as abuse.

(some notes for those without context on some of the stuff being referred to!)

liu and eddie: there's a storyline in which dick runs away at 16 (or as he puts it, one month short of 17) and lives on his own. by which i mean, most likely homeless. he works as a dishwasher iirc. one day, his coworker recommends these people who take in teenaged runaways and offers them a place to stay. it's functionally a gang that uses cult recruitment tactics to manipulate teenagers into doing their bidding. the /they/ being liu and eddie. dick is just another kid, and doesnt realize what they're doing until he's already pretty deep in it. there's a fair amount of bonding and attachment, with liu and eddie showing him favoritism and singling him out in a way that makes them his primary support network. eventually this all leads to a sexual encounter between dick and liu. something worth noting: the age of consent in new jersey (where gotham is and where this story is set) is 16, and as it was a technically consensual encounter it is incredibly unlikely for it to be legally classified as rape/sexual assault.

mirage: ok imma be real u gotta ask someone else for this one. or maybe read the actual comics bc tumblr is a mess when looking for actually useful info.

catalina: ok!! ok... from my understanding there was originally going to be a full plotline about dick being in an abusive relationship with catalina, but it was rushed/cut short so that DC could put nightwing in a batman crossover event. classic. but dick had already been trying to mentor catalina for a decent while before she started abusing him. tried to /mentor/ her. her hurting him? to dick, it would likely feel like a reflection on him. that /he/ must have fucked up for her to end up doing something like that. it's left somewhat vague, but we don't have any reason to not believe cat continued to sexually abuse dick off page. we see her get him drunk and try to get him to sign marriage documents, she wants to /possess/ him. dick is incredibly dissociative throughout the aftermath, up until DC needed to force him out of his own story arc to hold daddy bat's hand. sorry lol

[jinmukangwrites]

Handcuffed/Manacled

Fandom: Nightwing, Batman - All Media Types

Rating: M

Warnings: Graphic Depictions Of Violence

Tags: Self-Sacrificing Dick Grayson, Hurt Dick Grayson, Hurt Tim Drake, Tim Drake Whump, Dick Grayson Whump, Kidnapping, Non-Consensual Drug Use, Blood and Injury, Dick Grayson-centric, Angst, Hurt/Comfort, Hopeful Ending, Hostage Situations, Near Death Experiences, Protective Tim Drake

Ao3

Summary: What started as a quiet night quickly turned sour when Tim's comms cut off without warning.

----

"I think I have a pimple on my chin, and I'm about to get violent about it."

Dick laughed, swinging under a fire-escape—it creaked, but he had swung under this particular fire-escape enough times to know it could hold his weight.

At the other end of the comms, Tim sounded bored. Well, he must be bored if breakouts, and not the fun jail kind, had suddenly become the topic of conversation.

"It'll get better when you're older," Dick replied, smirking to himself, his eyes scanning the regular shady alleyways of Blüdhaven as his grapple retracted, then shot off to the next practiced ledge with a jolt down his arm. It looked like it would be a quiet night tonight, not a crime worth punishing to be seen.

"I'm literally almost 20, N," Tim replied, deadpanned. "Also you can't talk. I'm pretty sure you've never had a pimple in your life."

"Not on my face, not really," Dick agreed. He could hear Tim's weight land heavily on puddled Gotham streets through the other end of the comm. Seemed like he, too, was having a slow night. "But bacne? Whoah-boy. Pretty sure I have one right below my left shoulder-blade, it's driving me nuts."

"You said it gets better when you're older."

"I'm still young."

Tim snorted. Despite the empty streets being the only one to see it, Dick grinned.

"You literally asked me what gyatt meant the other day."

"In my defense, I said I'm young, not that I'm twelve. Believe it or not, I'm also not terminally on TikTok."

Tim laughed, and Dick followed.

It wasn't often he could just hang out like this. Somebody was always busy, or somebody didn't have the social battery, or was getting over an argument, or was doing something with someone else, or there was a storm over Gotham and the connection didn't hold despite the constant fixes Barbara made to the system, bless her. Honestly, when he contacted Tim, the response "yeah I'm free" was a very pleasant surprise, especially after he'd just gotten a "not tonight" from Cassandra a few minutes before.

"So, how's it going on your end?" Dick asked. He let the swing of his grapple slow as the ground came up. He took a few running steps, carefully bending his knees, coming to a stop on solid ground as the grapple fully retracted into his escrima stick. He attached the useful weapon on his back next to its pair.

Tim sighed. "Is it bad I'm almost hoping someone's getting mugged with every empty alleyway I check?"

"Probably," Dick responded lightly, "but also, same."

"Of course I don't want anyone getting hurt, you know? But like, maybe just a little bit of threatening? Some yelling? Some asshole with too much ego needing to be knocked down a peg? I'm itching to kick someone in the face and I don't think that's something people should itch to do."

"Trust me," Dick responded, "I think I'd rather hear gimme all your money than you won the lottery right now."

Hindsight had Dick wishing he had some wood to knock on.

Tim started to ramble about how the most interesting thing he'd seen that night was a cat messing with a rat outside a doughnut shop, and Dick was strolling the quiet streets, a city away, a thirty minute drive at midnight, listening with a smile. It could have continued like this the rest of the night, and he would have been content. He would have said goodbye to Tim, stumbled into his apartment, did some stretches, ate a toaster strudel, then gone to bed happy. Bored, but happy. Glad no one needed saving, Nightwing wasn't a factor in life or death, he could rest, knowing the quiet nights were rare and precious.

Tim cut off in the middle of his ramblings, and tonight wasn't rare or precious.

"Red Robin?"

"I heard something. Just a sec."

He was whispering, voice tight, Dick could almost imagine the narrowed eyes behind white domino lenses.

Warm pressure washed over him, the physical feeling of a happy moment turning stale, starting at his ears, settling threateningly in his stomach.

Nearly a minute passed, Dick had to remind himself to breathe during it.

"Huh," Tim said, finally, voice shaken a little. "I could have sworn I-"

Static.

Dick was on the emergency channels before his heartbeat could finish its first stutter.

"Oracle," Dick said, "I've lost contact with Red Robin."

-o0o-

And that was how the nightmare started.

The last time he sped this quickly across the distance spreading between Blüdhaven and Gotham—often times too small, at times like this, too long—was when Damian had fainted at school. Nothing serious, apparently he had forgotten to eat and it was a hot day.

This was serious. Bab's was able to report Tim's vitals spiking, then slowing into unconsciousness mere seconds before any signal between Tim and the family cut off.

Every bat in the city scrambled. A fine oiled machine, like students practicing drills for school invaders; a machine that shouldn't have to be this oiled.

Dick took the west, ignoring how his ankles ached and his back ached and his jaw ached. Fingers creaked, ribs squeezed, stomach clenched. The sun would rise soon. Maybe a citizen or two would wake up for work and see a bat out and be baffled by it for a moment, then wonder if it's a sort of bunker down and call out kind of day.

He followed Tim's footsteps, checking alleyways, passing the doughnut shop with a rat corpse in the gutter, looking up at the pipes and gargoyles that had scratches from grappling hooks, some fresh, some very not.

The sun rose. It hung in the sky. It set.

Nothing.

He needed to eat. Everyone needed to eat. Damian was the only one resembling someone who could stand on their own two feet and it wasn't from a lack of caring but more from a responsible butler forcing the kid to go to school. Damian wasn't happy about that, the family had to move to a different channel while Damian argued over the comms for a solid 30 minutes.

Dick kept returning to the alleyway Tim's last location had pinged from, like if he looked again, Tim would be there that time. He was exhausted, to put it plainly. He was tired to the core, from the lack of sleep, and from once again, fearing for the life of a younger sibling. His eyes desperately wanted to close, but he knew that if he stopped looking even for a second, he'd see Jason's grave, feel Damian's blood, hear the silence coming from Stephanie's empty chair.

Not Tim. Not Tim too. Not Tim again.

Can't the universe let him catch a break? Or, at least, let it be him instead?

A grim thought. He had to keep looking.

There wasn't any sign of a struggle. No Red Robin branded weapons stuck in the brick walls, no dented dumpsters, not a single speck of blood. It was like Tim was kidnapped by the fabric of reality itself; glitched and removed, plucked out of thin air.

The irony and deja vu wasn't lost on him.

He sighed to himself, searching around the alleyway, poking at the same clueless details until maybe his fingers would leave indents in concrete.

Something blinked. Faint. Red. Rolled under a dumpster, near unnoticeable.

Dick noticed it. His blood ran cold.

He could hear Alfred get on the comms, demanding everyone return home for dinner before they do Tim no good by letting exhaustion win, but he ignored it for a second as he crept to the dumpster, reaching his hand under to pull out a small device no larger than the tip of his pointer finger.

Tim's comm.

He'd checked under the dumpster before. Several times. This wasn't there before.

It had to have been returned here. Purposely.

It was blinking like it was connected to something, which was impossible because Oracle said the signal was completely disconnected, and only she could connect it back to the family again.

He took out his own comm, wiped off alleyway water from Tim's, then replaced it in his ear.

"Is anyone there?" Dick asked, not knowing if he wanted an answer.

A second passed, he felt like he'd throw up.

A shaking voice responded. "N, go to these coordinates. Come alone, or he's going to kill me."

-o0o-

Dick went alone. He was instructed to keep on the earpiece, and that the kidnapper would know if he muted to warn the others.

The coordinates lead him to no special location at all. A thirty minute walk from where Tim had initially disappeared, a nook under the freeway where flood water could drain.

Not a soul awaited him there.

A blue backpack, abandoned—no, purposely placed—awaited him there.

Nothing was good about this. Tim had sounded weak and frightened to his trained ears, brave to anyone else. Dick felt like getting stabbed would hurt less than this.

He didn't care. He didn't know what else to do.

Tim had long since stopped responding to Dick after giving the initial instructions—the comm was mostly for the kidnapper to keep Dick under control—but he didn't need instructions to know that whatever happened next involved that blue bag.

He stepped up to it, hands long past the point of shaking that they're deathly stable as he unzipped it.

A device about the size of a pen greeted him. Thin, sleek, nothing special besides the tip being a very threatening button the size of a push pin.

"Gloves off," Tim whispered. "I- Nightwing- don't do it- I'm-" he cut off with a shout. The line went silent.

Dick didn't hesitate to take his gloves off and press the button.

Two things happened. The first was quicker, while the second was more physical.

The earpiece shorted out, and anything powered on Dick's body—his removed comm, his tracker, the sensors to his vitals, even the batteries to his escrima sticks—went completely dead.

He had just a millisecond to process that before nausea washed over with a prick to his thumb.

His vision swam, and he collapsed, black consuming him before he hit the ground.

-o0o-

"Just my luck," A modulated voice said exactly as Dick found himself waking up enough to comprehend words being said to him, "I've always wanted to meet Nightwing."

His arms were behind his back, wrists locked with tight bands of cuffed metal. Gravity told him he was sitting up, spine slumped against a wall, but sharp tugs in his hair told him that a hand clutched the strands, holding his neck up. He knew before he opened his eyes that the face of the speaker would greet him.

Or well, the helmeted face. Close enough.

Dick glared through the grogginess of fading unknown drugs. His face felt numb, tongue heavy, but the movement at least assured him that there was still pressure over his eyes.

The attacker regarded him back, faceless, unmoving, as if waiting for Dick to make the first move.

Dick didn't have a lot of options in terms of first moves.

So he took the moment to get a better grasp of the situation. He had a lot of practice with this kind of situation, it didn't take long to assess himself, the villain of the week, and the surrounding room.

He, himself, was fine. A little woozy from whatever drug was shot into his system, but it was fading with only slight lingering feelings of nausea, numbness, and weakness to the extremities. His hands were pressed between his back and the wall, his shoulder blades touching the faded wallpaper, making it clear his weapons had been removed. Other places that held weapons and tools were suspiciously light.

The person in front of him had a large, muscular build, in-between the range of Jason to Slade. Tall, closer to seven feet than six, combat boots, armored fabric suit, a gun strapped to a thigh the size of a basketball. The suit was nondescript, black, with the occasional gray accent, the armored fabric mixing with armored plates where organs are concerned. The helmet was nothing more than a glorified biker-helmet that wanted to look sci-fi.

All signs pointed to human and male, though meta wasn't ruled out yet. All Dick knew for sure was that this wasn't a run of the mill criminal; maybe something closer to a bounty hunter, or assassin, or some disgruntled asshole with a vendetta and actual knowledge of how to carry that vendetta out. Truly, the Slade vibes were strong with this one.

Dick couldn't see any other weapons on the attackers body, but granted, he was sitting on his ass against a withering wallpapered wall, head held up by a fist of hair, a helmeted figure crouched down staring back.

Behind the figure, however, was where Dick's eyes settled. The room was small, a hundred square feet give or take, comprised of cement floor, walls water-rotted and peeling, a door chipped and unkept. Between Dick and the door, however, was a collapsed body, dressed in familiar colors, cape tattered and clothes twisted.

Tim.

He laid curled on his side, hair waterfalling over an exhausted face. His arms were wrenched behind his back, no doubt restrained. What made Dick's gut squirm was the trail of blood dripping down an obviously broken nose, over Tim's tight lips, down his cheeks, puddled on the ground.

Fresh.

Dick's face must have done something with that observation, because his captor chuckled and turned their visor at Tim. "Poor boy needed come company."

Even modulated, the extra words allowed Dick to pinpoint the accent as American, West Coast. Not necessarily useful information, but hey, accents sometimes identified.

Dick tore his eyes away from Tim and clenched his fists tight enough the cuffs dug into his tendons.

"What do you want, you bastard."

An amused huff. "Nothing you can give me. I have you right where I need you."

"Why here? Why us?"

"The boy happened to be the first one I saw. You happened to be the first one to find my next trap. This isn't personal, bat."

Frustration pooled. "If you think this will get you Batman, or-"

The man laughed, letting go of Dick's hair and standing up. "Batman isn't my goal. I just need you here."

This can't be good. A villain wanting to get at Batman is one thing, a villain not caring about Batman is another.

Why capture them if not to interrogate them?

The man stepped away from Dick, and Dick felt his whole body tense as he stopped above Tim's prone form. Tim swallowed, then glared up at their captor.

Then their captor, with no warning, lifted a leg and nailed Tim in the stomach.

Tim choked off a breathless scream, and Dick found himself on his feet in the next moment. His vision, however, jolted, and his legs twisted around each other, tripping him up and having him crumple disgracefully to the hard floor with an irritated growl. Damn side effects of damn drugs.

Their captor chuckled, amused, and stepped over to Dick while Tim coughed for breath. A large hand wrapped around Dick's bicep then dragged him back to the other side of the room. Instead of just leaving him there, however, his hands were pushed down to the floor and the chain between his cuffs were locked onto something solid and unmoving. Some sort of bolt.

"Don't worry, it'll be over soon," The man said, stepping away from Dick, sounding full of himself and confident. The prick. "Play nice, and you both will get out of this alive."

Then, he left, stepping over Tim and leaving out the door, a lock sounding in his wake.

"Red," Dick called, the moment they were alone. "Hey, look at me."

Tim, his expression more out of it than what Dick's seen in years, turned his face toward Dick. "N... 'm sorry."

What had that monster done to Tim?

"No sorry," Dick said, forcing his voice to remain calm as he ran another scan along Tim's body. Nothing visibly violent greeted him back, nothing but the broken nose. Perhaps everything else was hidden under his suit, and perhaps the cocktail of a weak immune system, drugs, and captivity, didn't mix well. "I'm here now. Talk to me, what happened before I got here?"

Tim took a deep breath, stealing his expression and shifting slightly. "I- not much. He kicked me around a bit, only took me out of the room once to use the bathroom—blindfolded. Then he told me to... tell you to find his trap."

"Nothing about his goals? No questions or anything?"

Tim shook his head, then winced, spitting some blood from his lips. "Nothing explicitly said. I... think he has a partner outside, and I think we're just distractions."

"For what?"

Tim shrugged with the shoulder he wasn't laying on, looking frustrated and tired. At least the more he talked, the more awake he started to look. "It's a good plan if we are just distractions. When was the last time you slept?"

Ouch.

"I don't think anyone's slept," Dick responded softly, feeling like an idiot for being so predictable. If a distraction was the goal, then them both being captured will run the whole family down to the bones, cause them to lock up inwards and assume another will be next, focus in on the areas they disappeared from.

It could leave any number of targets around Gotham completely ignored.

"At least," Tim continued, "I think he's not going to kill us when they get what they want."

No, helmets and voice modulators and blindfolded bathroom trips didn't usually predict a homicidal villain.

"And if they don't get what they want?"

A beat of silence. "When I tried to convince you to not come... he broke my nose. No hesitation."

Great.

"Alright. We either hope they get what they want and let us go..." Dick looked around the walls, a single camera blinked back, no microphone. He lowered his voice. "Or we escape."

"How?" Tim asked, his voice going unimpressed, hinting that the boy had already been trying that.

Dick slowly sat up, angling his body so it didn't look too obvious he was hiding his hands from the camera. He wrapped his fingers around his anchor to the floor, the bolt wobbled a bit.

"Bolt's loose. I'll get my hands free, then I'll get us both out of here."

Tim relaxed a bit, relief a visible wave. "Sorry, but I'm glad you're here."

"It's okay," Dick responded, throwing a reassuring smile. "I'm glad too."

He'd rather be here with Tim than back outside, not knowing.

At least here, he had a chance to protect Tim.

-o0o-

The kidnapper, which Tim and Dick had worked together to nickname "Visor", returned about two hours later. Dick couldn't help but tense when the door opened while Tim gave a hard glare from where he had worked himself up into a seated position.

"The bats are widening their search a little too close to where I don't want them," Visor said as he walked in. "I need some incentive to drive them away."

Tim stiffened, his eyes traveling over to something Visor held, previously hidden from vision but now fully in view.

Dick stiffened too.

One of his escrima sticks was held in the enemy's hand, and the reason why wasn't hard to guess.

It wouldn't be hard to lure someone away from somewhere you didn't want them to be if you plant something elsewhere that would catch attention.

"You really think Batman would fall for something as obvious as that?" Dick asked, putting bravado into his voice and succeeding in catching Visor's full attention. "He's probably already figured out that this whole kidnapping thing is a distraction, planting something like that is just going to make it obvious that there's somewhere you don't want him to be."

He wished he could see Visor's face as the large man blankly observed him for a moment, it made it all the more unnerving when Visor broke into a low chuckle. "This is what I admire about you, Nightwing," he said, a smile in his voice, bringing his hands in front of his chest and running his fingers over the stolen weapon. "And what I was most looking forward to when I found it was you who fell for my second trap."

Cold fear settled in his belly. "What?"

"Your martyrism."

Then he turned and hit Tim across the jaw with Dick's escrima, causing the younger hero to fall onto the ground with a cut off shout, the blow coming as a surprise, the thud of his shoulder hitting the cement sounded like a distant roar of thunder to Dick's suddenly ringing ears.

"Hey- HEY!" Dick snarled, he couldn't help it, if Tim was shocked by the sudden violence, then Dick was caught in the whole lightning storm. He went to his knees, straining against the cuffs and the loose anchor. "I'm talking to you!"

Visor laughed, and it dug the pit deeper. "Now this is the cherry on top."

Dick had met plenty of sadists. He'd been held hostage by many of them. And yet, they usually took the bait, they usually ignored who Dick wanted them to ignore and went after him just to wipe his arrogance off his face. Sure, it cost him a straight nose, a scar here and there, a few weeks bedrest, but it was always worth it, because it meant he was the only one who got hurt. He did his job as the first Robin. As Nightwing. As the oldest brother.

But Visor had anticipated that, and instead of taking Dick's bait, he immediately found that the exact way to hurt both hostages the most was to keep Nightwing perfectly untouched.

He hit Tim again, but Tim didn't shout. He probably figured out Visor's goal was to make this hurt for Nightwing and had decided that keeping stony and quiet and brave would hurt Dick less. Tim had been through worse, after all. They all have. A beating with a glorified stick was nothing.

Somehow, it hurt more to see Tim glance at Dick, forgiveness and bravery and determination shining through those white lenses, than it would have been to hear him scream.

Dick wanted to scream.

He met Tim's eyes, and grinded his jaw shut.

By the time Visor had a satisfactory spray of blood across the escrima stick and left, humming to himself, Dick's wrists were slick and red beneath bands of silver, the anchor looser without him even intentionally trying.

And Tim laid still on the floor.

-o0o-

Hours passed again. Tim remained unconscious for most of it, even after Dick had tried and tried again to stir him with voice alone.

He watched Tim breathe, terrified one lungful would be the last, images of corpses and funerals flashing behind his eyelids every time he blinked.

He couldn't do this again. He couldn't endure another sibling's funeral. A part of him died with every one—there couldn't be much more of him left. Them coming back to life didn't revive those parts of him. Those parts haunted him in his nightmares, and if Tim... if Tim didn't survive this one... if Tim didn't survive because some fucker knew it would hurt more to watch... those parts would drag him under, and he knew he wouldn't try to swim back up.

He worked at the bolt holding him down. Visor wouldn't have another chance to hit Tim again. When he came back in the room, Dick was going to end this.

Near the end of the third hour, Tim stirred, groaning.

Dick quickly called for his attention, and Tim, bless him, did his best to respond.

"D..ik?"

His jaw was swollen. A tooth had been spat out a blow or two before the blow that knocked him out.

Dick didn't even care about identities right now.

"Hey, hey, you're okay. I'm gonna get us out of here."

Tim took a few deep breaths through his mouth, spitting blood onto the floor, not daring to move what must be an aching body.

"... kay..."

"Just hold on a little longer. You're being so brave. Just a little longer, I promise."

Tim, half conscious, in pain, put on something that must be intended to be a brave face, but it only broke Dick's heart more. Tim lost the fight with consciousness, and fell back into what couldn't be a painless slumber.

About an hour later, Visor returned.

The anchor wasn't loose enough to escape yet, and Dick had to swallow his panic.

Even with the helmet, Visor didn't look happy.

"How did they know," he growled, striding forward and grabbing Dick by the neck. "How did you tell them."

The pressure wasn't strong enough to choke, but it was just shy of becoming so. Dick should feel afraid of that, and yet, he only felt relief that in Visor's true anger, he walked straight past Tim.

"I told you," Dick hissed, the fingers oh so close to squeezing, he could feel it inside his throat. "You're an idiot to think they wouldn't catch on."

The replying sneer was audible, physical in a twitch of fingers. "That's where you're wrong, we planned for this. I have two hostages, you're my bargaining chip for a prisoner exchange."

Dick thinned his lips to keep from vocalizing that in the end, when it came to the Batfamily, prisoner exchanges never worked in the enemy's favor.

"I just have to show them I'm serious first," Visor continued, his voice lowering to an eerie promise, like rolling fog in ancient mountains. "I only need one hostage."

The words processed milliseconds too late, Visor had shoved Dick away and had walked back toward Tim, kneeling, hands reaching towards his younger brother's neck.

Something untamable tore out of Dick's throat, taking control over his body. His heart was a beast clawing at his ribcage, panic swallowing him whole. As Visor began to choke Tim, the boy too unconscious to give more than the body's sluggish, natural reaction, Dick began to pull at his chains, at the anchor, the pain in his wrists meaning nothing to the mere feet between him, and the monster killing his little brother.

"You fucking bastard," he roared, vocal chords straining with his wrists, his own shouting thousands of miles away, drowned out with the suffocating panic and the ringing in his ears. "Touch him and I'll kill you!"

Visor ignored him. Tim was twitching, eyes opening with pain and confusion, legs jolting and arms tugging at his own handcuffs.

Seconds passed. Seconds that engrained themselves into Dick's soul like an unwanted tattoo. Finally, as Tim's face turned red under the blood smeared on his cheeks, as his eyes began to flutter back shut, the anchor fell loose.

It was as easy as breathing to contort his body in a way that allowed his wrists to pass under his legs and in front of his body. He was running the next instant, crashing into Visor, bodies colliding in shouts and struggles, shoulders hitting the cement away from Tim.

Tim erupted into very painful coughs, and Dick... Dick couldn't bring the monster back in.

His fists wanted impact. His fingers wanted pressure. His skin wanted blood that belonged to the man below him.

Visor didn't make the bloodlust easy. He put his weight into struggling. There was a reason this man was able to capture not one, but two bats within their own city. He fought back like a demon fresh out of Hell, his own blows landing with promised swelled purple bruises across his jaw, shoulders, neck, stomach. At some point, he even managed to kick Dick off with a heavy boot, knocking Dick across the small room and slamming his back into the water rotted walls. He said something, something prideful and angry and arrogant, something that turned to static to Dick's angry ears.

He went to kick Dick in the stomach before Dick could get back up, but while Visor fought like a demon out of Hell, Dick had an older devil inside of him, one that's been caged for much, much longer.

Dick will make him wish he went for the gun.

The pain meant nothing, it didn't slow him down as he scrambled to his feet and jumped onto the larger man, wrapping his legs around his torso and flipping him down onto the ground, back under Dick, at the perfect angle for Dick to bring his bound hands up and down over and over and over again until the helmet cracked, visor shattered, splinters going into bloodied hands below bloodied wrists controlled by a bloody hatred that, after this, he knew would haunt him.

Visor tried to fight back, and he tried until he couldn't. He tried until his helmet fell off and his face was exposed, cheekbones cut, nose cracked, jaw loose, eyes terrified and half-lidded and losing focus.

Dick didn't stop.

He wanted Visor dead.

He didn't stop until a body crashed into his own, arms large and strong wrapping around his waist and tearing him from Visor and pinning him down to the ground, heavy hands on his shoulder blades, pinning his bound hands between the cement and his heaving stomach. Dick struggled, brain screaming at the sudden change.

"Get Red out of here, B!" A voice shouted above him, "I got him!"

The voice was familiar. Through blurred eyes, the form that stooped down to Tim was familiar too.

Batman undid Tim's restraints and carefully lifted the limp body into his hands, eyes barely casting a second torn glance back at Dick, who was completely pinned under Jason's weight, before leaving the room.

Dick breathed. He breathed like he'd been deprived of air for hours on end, windpipe bursting open, the edges fading.

His brain caught up with him. Jason had positioned himself perfectly, almost purposely, to obscure Dick's view to Visor. He didn't release Dick, and Dick knew why.

Jason understood this anger. This fury. This rage that took everything that made you you and replaced it with something you wouldn't recognize in the mirror. He kept Dick pinned, not speaking, not accusing, not comforting, just there until Duke and Cass arrived to drag Visor out of the room, eyes very carefully avoiding Dick like if they looked, everything they thought they knew about him would be destroyed and replaced with something unstomachable.

When they left, Jason jumped off like Dick was on fire, and Dick scrambled away like he was acid.

Silence filtered between the two of them. Jason stood near the door, as if afraid Dick would bolt, but in all honesty, Dick didn't have even a fraction of the energy to do something like that, even if the anger hadn't suddenly been replaced with exhaustion and self-hatred.

"Was he breathing?"

"Tim? Or Zeek?"

Zeek. That was his name? Of course they figured that out too.

"Tim first."

"Yeah, B has him back at the cave. Alfred's got him stable."

Dick swallowed. How long had he been here? How long had Jason been here making sure Dick didn't murder someone? 

"Zeek is also alive, GPD has him handcuffed to a gurney on the way to the hospital."

Dick brought his knees to his chin... and he could only bring himself to nod.

Jason approached a second later and finally got the cuffs unlocked around Dick's shredded wrists. As he bandaged them, talked to him about getting him back to the cave... Dick felt nothing.

-o0o-

"Hey."

"... Hey."

"You weren't answering your phone, so," Tim shrugged, looking all too comfortable and normal standing in the entrance doorway of Dick's apartment.

"Tim, I'm..." Dick had his hand behind his neck, wrists achy. He regretted opening the door, he thought it was the landlord or something. "You look good."

Makeup covered the bruises on his neck, that much was obvious, and Tim wore a high collar hoodie. Everything else looked about as healed as Dick's wrists.

"Yeah," Tim smiled, pushing his way inside. "A few weeks of Alfred-enforced-bedrest can do that. Finally escaped."

"Tim, now really isn't a good time," Dick said as Tim took off his shoes and raided the freezer.

"Knew you'd have some," he said victoriously, ignoring Dick and pulling out a tub of ice cream. "You always have a stash. What are you feeling? I'm feeling a Lord of the Rings marathon."

Dick sighed, and closed the door. "I don't have the extended."

"That's alright," Tim pulled two bowls out of Dick's cupboards and set the tub of ice cream on the counter to thaw. "I brought them."

"Tim, what is this?"

"I think you know," Tim said lightly. "Bruce keeps saying that space is what you need, but I think ice cream will help quicker."

"I'm fine. It's you I'm worried about."

"Liar. Well, that first bit is a lie."

"I'm dealing."

"With me, and ice cream, and Lord of the Rings."

Dick, defeated, sank into the sofa and grabbed the remote. "You're impossible."

"No, I just know you. You blame yourself for me getting hurt, and you blame yourself for not getting us out of there. I also know you want to wallow in your guilt for as long as you can, and you know the second I tell you I don't blame you, it's not your fault, you're human and you're a victim too, yes I know you still blame yourself so I'll forgive you for you, etcetera etcetera you won't be able to wallow in the guilt. Hence, the ignored phone-calls. Hence, ice cream. Lord of the Rings."

Dick sighed. "You can say that, but I still feel awful, Timbers."

"That's okay," Tim said, joining Dick on the sofa, handing him a bowl of ice cream, and pulling out the first DVD of Lord of the Rings, the extended version. "I'm here until you don't anymore. Keep in mind, I'm also feeling Pirates of the Caribbean."

That wormed a smile. It almost felt traitorously real. "And Star Wars?"

Tim stood up and went to the DVD player, opening the case.

"Star Trek too if you want."

"Thank you, Tim. And I'm sorry."

"I don't blame you, and believe it or not, it wasn't your fault."

He slid the disk in, and sat down next to Dick, leaning on Dick's shoulder with a content sigh, pulling his own ice-cream bowl up to his chin.

Dick couldn't help it. He melted, allowing Tim to get comfortable, allowing himself to get comfortable.

It felt vile to allow any kind of comfort, but Tim was right, they've had this rodeo before, and with quiet conversations during the quiet scenes, he wasn't surprised he felt a little better by the time they put in The Return of the King.

Not all the way. That would probably take a few more marathons, and maybe a hug, another bowl of ice-cream.

And for a whole night and most of the morning, the guilt went forgotten, and he knew it would be okay. He would be okay.

Because Tim was beside him. Breathing, alive, softly snoring as sunlight filtered through the window.

And that wasn't changing, not any time soon.

[the-stove-is-divorced]

*seeing the possible nicknames: Ships and Sails* Hmmmm, uh, how about we combine them for the ultimate irony? Since you don't like shipping, how about Sailing Ships?

Have you planned out the future plot of kintsugi? Of course, nothing is set in stone and you can change it whenever but what are your plans at this point of time? I'm very curious 👀👀

Oh my goodness, this is so perfect??? It honestly has the exact kind of vibe to be a mlp pony name, and I adored that show so absolutely, yes! I am Sailing Ships, who dislikes shipping, now and forever thank you. Irony my beloved!!! (*´▽`*) ♡♡♡

And sort of! Most fics have a general point of conflict I wanna reach and/or moments I wanna build up to and write the story along the way, so 98% isn't planned, but 2% I really want to reach for. Tysm for asking btw, I love chatting about fic ideas!!! (´,,•ω•,,)♡

The main eventual conflict is that fact a) Chill/Blue doesn't want to go back together and become One Whole Bruce Wayne because this specific part of Bruce doesn't like being Batman. He's actually one of the few aspects with some actual self preservation, and simply put: it's exhausting, it feels futile, it's painful, and he's done enough. As the personification of indulgences and whims, Chill/Blue wants to indulge in the idea of retirement, putting his feet up, doing what he wants, eating what he wants, and rejecting the hard standards and restrictions Bruce puts himself on. He wants to indulge in the joys he feels he's been neglecting to be Batman, he's tired of the sacrifice and efforts it takes to maintain on a constant basis.

As you can probably guess, b) the others hate this. Hope/Gold is what made Batman and what saved Bruce from despair by giving him something to work towards, Crimson would be frustrated by the idea of doing nothing at all when he could be doing something, and Lavender couldn't stand the idea of how many people could get hurt by sitting idly by. Both Lavender and Crimson don't like Blue, and frankly wouldn't mind if he wasn't part of the Whole Bruce Wayne anymore, and while Hope can appreciate anything by nature, he isn't exactly gonna run and demand for Blue to stay. But the conflict is the all of them have to be together for the whole Bruce to come back.

And gosh, if you don't mind the ramble I love having character study types fics like these! Because it's demonstrating there is a part of Bruce that can understand he is, objectifying, overworking himself and sacrificing his own life for a meaningful cause, it's selfless for others, but arguably self destructive it taken way too far. It's not good, it's not pleasant, but when there's so many reasons to keep going, (like Hope, Lavender, and Crimson each think about), who cares about the small part of him desperate for sleep? If he has to stay in perfect shape, who cares about the craving for popcorn or ice cream he has? If he has a city to save, who cares if his spine hurts so badly, or his knees ache, or his body is still bruised? Bruce, Batman, to me, is a character who probably give anything to anyone who needs it, and yet deny himself the same generosity at the same time.

I also want moments of Blue bonding with one of the kids, or something of the like. Confessing about how much he likes heights, how much he loves the rain, being strangely, perhaps jarringly open, because he's not afraid of sharing the wrong thing, or how carefully he has to think about what to say, because words are so meaningful to him. I want to show how harsh Crimson will be with other aspects of Bruce, but loathe being that harsh with others. Stuff like that! :D

AGAIN TYSM FOR SHOWING INTEREST! I love yapping about fic ideas and fic plots and the like, teehee. (´꒳`)♡ I should have a chapter out hopefully soon????

[theconstitutionisgayculture]

Superheroes question

People say that Bruce Wayne and Tony Stark should use their money better.

But why no one asked the spacefaring aliens or the other advanced civilizations such as Wakanda and Atlantis to help humanity?

I mean for Batman he need to stop joker from blowing up a kid hospital every Tuesday and Tony basically the avengers and shield sugar daddy 80% of the time.

Thoughts?

You're right. People are very quick to blame certain characters for not being "better", but make constant excuses for others. And people who make this kind of commentary don't understand the characters they're talking about, real world economics, or basic storytelling.

It's been talked to death before, but Bruce Wayne absolutely uses his money to fund multiple charities and provides jobs for disenfranchised Gothamites, including criminals he's stopped as Batman. Tony Stark I don't follow as much, but even just in the MCU he basically bankroles the Avengers and created a clean, renewable energy source with the intention of sharing it with the world. But nobody wants to hear that, because it's "not enough". Because to them, all rich people should have all their wealth confiscated and then put directly into their bank accounts used to fix everyone's problems.

And this is where the economic illiteracy comes from, because that's just impossible. Even if the governments of the world would use that money purely for good instead of just embezzling it or using it for their own gain, all that would accomplish is temporarily alleviating a few societal ills. One that money is gone, there's no more money to confiscate from the super rich, because most of the money that rich people have is tied up in their businesses and investments. Once that money goes, so do those businesses (and the jobs they provide) and whatever industries or initiatives were being propped up by those investments. It's a childish power fantasy that if the right people were punished then all the problems of the world would just disappear. Which is ironic, considering point number three.

These people have zero idea how fictional stories work. Especially serial fiction. Stories need drama. Stories need conflict. Stories need characters who react to events in character to drive the plot along. If Bruce Wayne used his money to end all crime and poverty in Gotham, then there would be no more Batman stories to tell. Batman can't exist without Gotham being what it is. Because Batman isn't a 500k slowburn coffee shop slice of life story. It's a superhero story. Specifically, it's a superhero story about a traumatized boy who vowed to clean up the massively corrupt, crime ridden city that killed his parents. He knows his mission is futile. He knows he'll never succeed. But he still tries. He struggles against impossible odds that he will never beat, and we root for him and we keep reading about his struggles because it inspires us to face our own impossible problems. Or at least gives us an escapist fantasy where we can live vicariously through someone who can take on the impossible and triumph. Because even though his overall mission is impossible, he still racks up wins along the way. He saves lives that wouldn't otherwise be saved. He stops evil criminals and corrupt politicians and bad cops. He forms a family from people just as broken as he is. He struggles to live up to his own moral code and to balance his life's work with his interpersonal relationships. That's what makes Bruce Wayne interesting to read about. Having him write a check and cure all the worlds problems isn't just boring or unrealistic, it's lazy. No one can relate to that because there's no allegory to anything we experience in our own lives. It's an unearned victory. And in storytelling, unearned victories are flat and unsatisfying.

[projectbatman193]

This is obviously a very controversial topic, as it always is with typing a fictional character, but being an INFJ myself and a big fan of the Bat, I liked how the two could be linked together. If you don't agree with this typing is okay, I don't really care and neither should you. I'm just posting because I liked it!!

Forgot who I got the text from, or I'd tag them, but I think it came from reddit.

Batman is an INFJ. He’s often confused for an INTJ, but those that believe that either don’t understand INFJs or they don’t understand Batman. Granted there is overlap between INTJs and INFJs, so the confusion is understandable. Also, one must take into consideration the inconsistencies in the depiction of the character throughout his long history. Nonetheless, a well-written Batman is one that has a lot of feelings. INFJ males are the rarest combination in the world. It makes sense; Batman truly is one of a kind. INFJs feel deeper than other personality types. They don’t heal well. Think about how many superheros have lost their parents. Superman. Barry Allen. The list goes on and on. None react to those deaths the way that Batman reacted to his parents dying. It destroyed him. He never got over it. He felt that pain so deeply in a way that only an INFJ would understand. Batman didn’t become a superhero because he has super powers. He used that pain from his parents’ death as the impetus for becoming a superhero. To be clear, it wasn’t LOGIC that drove him to become the Bat, it was FEELING. And few people are capable of feeling to the depths that INFJs can. INFJs are notorious brooders. So is Batman. You can’t brood if you’re not emotional. INFJs feel an enormous amount of responsibility for the world’s problems. They suffer from a massive savior complex. Coupled with that complex comes an insane amount of guilt. The guilt and responsibility that Batman feels is overwhelming in his comic book history. Look at his relationship with Harvey Dent/Two Face. The amount of guilt he feels for not being able to save his friend is one of the key themes regarding that character. Batman feels so much guilt for not being able to save his parents, for not being able to save Jason Todd, and countless others. These experiences haunt him. He wants so desperately wants to reform criminals (for example Selina Kyle). Look at the compassion he has offered Mr. Freeze, Clayface, and countless others. He wants to save them. He wants to help them. Read the comics. You will find countless examples of him trying to reform and help the people he fights against. One could write a whole book on that topic alone. INFJs see the world not as it is but as it could be. And they are crazy enough to do something about it. They are dreamers, but unlike most dreamers, they act. INFJs are intense. They take on the problems of the world and carry that on their shoulders. They are self-sacrificing; willing to give up everything for the greater good, including relationships and their own life. He’s willing to be the bad guy if need be if it gets the job done. He takes on everyone’s burdens. INFJs are capable of so much compassion, their ability to feel empathy is a key characteristic. This characteristic people always get wrong about the Batman character. People view him as cold and unfeeling (more about this later), but they’re wrong. Batman has so much compassion. Look at all of the kids he has adopted or taken under his wing: Dick, Jason, Tim, Stephanie, Barbara. The list goes on and on. He’s like the Angelina Jolie of the DC universe! Look at the way he counsels Superman regarding his relationship with Superboy. Again, note how desperately he tries to reform people. He believes that people change. He has faith. He’s an optimist in so many more ways than we give him credit. That being said, INFJs don’t always make the best mentors. They are perfectionists that have insanely high expectations for themselves and anyone they care about. This constant pushing for more can backfire on the INFJ in a mentorship position and make the relationships with their mentees a bit rocky. When INFJs become stressed they revert to their tertiary function. In many ways they become what looks like an unbalanced ESTP (their opposite). They become very much about the present. This means indulging in sensory type behaviors: sex, food, exercise or physical fighting. I’ve seen some arguments that Batman can’t be an INFJ because he goes around punching people.

But INFJs can be very physical and carnal when angry, stressed, or off balanced. The INFJ that doesn’t adequately deal with the overflow of emotions can be explosive with their anger. When an INFJ is too overwhelmed with feelings or the weight of their responsibilities, they can actually turn off their compassion or empathy and become very cold, unfeeling, and judgmental. It’s a defense mechanism to deal with the insane amount of feelings trapped in their bodies. INFJs have a dark side that is terrifying. Google INFJ dark side to understand what I am talking about. INFJs are passionate about their causes, but always have to be careful about going too far; about falling into that abyss. Thus the endless brooding. INFJs make excellent actors (it’s often a proposed career choice) because of their ability to understand other people. They are adaptable and can play many characters. Bruce Wayne is a good example of this ability. He pretends to be the extrovert, the playboy, the rich brat. But its not who he is; it’s a mask. The Batman is his true form. INFJs run by their own moral code. They make their decisions ultimately using their powerful intuition or gut feeling. Batman follows his hunches. And he’s usually right. That’s what makes him such a great detective. INFJs love logic. They use it all the time. But unlike INTJs, logic is only a useful tool for INFJs, it’s never the end all factor in making split decisions. They use their gut for that. They are also master manipulators and interrogators because they understand people in a way few others can. The list goes on and on, but I think I will stop for now. Like I said, Batman has not always been written consistently over the last 80 years of his existence, so there may be versions of the character that you could argue is an INTJ. But the vast majority of representations of the character in the comics and animated series displays a very well developed INFJ. Final note—I’ve always been fascinated by the relationship between Batman and the Joker. Two sides to the same coin. Truly the inverse of the other. The Joker is indisputably an ESTP. I don’t think anyone argues otherwise (he’s definitely NOT an ESFP). ESTPs love chaos and breaking rules. The idea that Batman and the Joker are mirror opposites of each other is poignant. I feel it describes them so well, all the more reason why a well written Batman is an INFJ.

[mk-wizard]

6 Things superhero films, games and TV shows do right that the comics should start doing

I love DC and Marvel, and I always will because they shaped my childhood, my standards in comics and more. They also played a huge role in how I learned to draw because I never went to art school. Sailor Moon taught me how to draw women, Dragon Ball taught me how to draw men, Looney Toons and Mickey Mouse taught me how to draw anthropomorphic characters, and DC and Marvel taught me how to do everything else and add to all of the above to make it my own.

However, unlike what the song says, love is not blindness. As ironic as it is, the DC and Marvel comics have fallen from grace to the point where the heroes, plots and relationships are not recognizable anymore. I know characters evolve, change and grow up, but there is a limit especially in good storytelling. I also don't want to be hard on the comics because like I said, I still love them. What I will do instead is mention the top six things the DC, Marvel and other superhero films, games and TV shows nail that the comics should start doing in order to get better and I think they still can.

PS: I am aware that some superhero media that is not in comic format don't have the following qualities, but for the most part, they are.

1- Starting the story over and tell it right (hopefully) this time. - Usually, I am against rebooting and retconning because as a writer myself, I see it as cheating, but in the case of the superhero genre, it goes by a different set of rules. Namely, just as it always ends in an open fashion, it also begins so. With that said, it is perfectly fine to start the main version over if it is taking a wrong turn. In fact, that is one thing I learned to appreciate about the various Spider-Man and Batman cartoons especially when you take into account that they make an effort to not repeat the same mistakes. You don't have to breakup Mary Jane and Peter. You don't have to have Bruce Wayne wind up alone. You don't have to fridge Green Lantern's sweetheart. Most importantly, you don't have to stick with a broken story nobody likes including you. It's fiction not a documentary. You're more than allowed to start over and do things differently. That is how we got Harley Quinn, the version of Mr. Freeze we know now and an Aunt May who can hold her own.

2- The heroes can find love and have families. - Moreover, getting married and having kids does not mean the story is over. I can confirm that it's a new journey and adventure within itself. Plus, why shouldn't you be able to do something your good at AND have a family to come home to? I really appreciate that in a lot of recent TV shows especially, heroes are finally allowed to have successful love lives and families, and still be heroes. If anything, the fact that it is fictional reinforces that they should be allowed to have it all. We all need someone to love and supers are not the exception. Besides, love is a beautiful thing to see and should be painted in a positive light. The same with family because who are we without a family to back us up?

3- Tell happy or fun stories. - This is something I have been saying for a while now. Fantasy is supposed to be an escape from real world problem not be a constant reminder of them. With that said, the fact that superhero cartoons, films and games (especially with the uplifting side quests that allow to just be nice) are moments of levity are really appreciated. Just to give you an idea, I'm going to dare to admit something; I LOVE the episode "I've got Batman in my basement" from Batman the Animated Series because it's fun, cute and I liked seeing average people saving Batman for a change. It is also why I loved the Christmas episode from Justice League. Plus, even when heavy topics are addressed, they usually get dealt with the right way with the hero finding peace. For example, did you know that in the original X-Men cartoon from the 90s, Wolverine moving on from Jean and finding a true love of his own was on the table?

4- The superhero genre can be a a hybrid of any genre not just drama. - It is not uncommon for superhero tales to also serve as a vehicle for other genres too, but lately, comics especially have become type casted as only working with drama and that's depressing. Even action has fallen to the side and that is one of the most exciting parts about superheroes. Why not have superhero media that also serves as a sitcom, comedy, mystery or even a love story (think Lois and Clark)? Plus, not everyone likes soap operas, so having options is very appreciated. Heck, even the superhero shows that are educational like Transformers Rescue Bots and ones that are aimed for kids like Spidey and his Amazing Friends are breaths of fresh air.

5- Have fun and inspire. - The number one thing that attracts us to superheroes is how cool they are not seeing life perpetually punish them for being superheroes. Seeing superheroes be resourceful, creative and even have fun with their powers is fun. Plus, did you know that superhero movies inspired a lot of technology as we know it now namely cellphones? Moreover, superhero anime like Dragon Ball (yes, it fits the superhero genre) and the Batman series inspired people to go to the gym. Supers don't just represent the best version of ourselves, but also encourage us to believe in ourselves and better ourselves with hard work. Watchmen was the exception not the new trend all superhero tales should follow.

6- Passing the mantle down for good and with grace. - I love Steve Rogers, Barry Allen, Bruce Wayne, Peter Parker, Clark Kent and all the other heroes from my generation, but I accept that they are heroes of their time and not fit for the modern generation. Heck, I don't think they're fit for my son especially when he starts reading comics. And that is ok. Accepting that these heroes are old is the right thing to do and it's gracious to have them pass their mantles down with dignity. What is so bad about Steve Rogers being able to grow old with the love of his life while knowing there still is a badass Captain America? Or Peter Parker being able to happily marry Mary Jane and have a child with her while Miles becomes the only Spider-Man after long since proving he IS Spider-Man? That sounds like a good way to end a character's arc. Everyone's retirement should be happy and dignified especially the retirement of heroes. It is not a blaze of glory, but you know what? Blazes are overrated.

Anyway, this is all my opinion and things I would like to see in comics again. Do you agree or have some things you want to see more?

Thanks for reading and stay safe.

[scandalsavagefanfic]

Hello! I am a huge fan of ur writing. I've loved everything I've read of yours. I've read alot of what you've posted, except for a couple of the tags that are squicky for me (so I'm very thankful you tag very thoroughly). No judgement for the squick, it's just not for me. & when I'm having a bad day, I usually just go thru ur ao3 and find something to reread. I think about Therapy's Bruce & Jason every damn day. While I obvs appreciate ur darker more "problematic" content (I really vibe with some of the themes you write about bc of my own trauma, & so it's very cathartic to read about in a fictional setting), I am truly a sucker for ur more happy content. The Happily Ever After verse also lives in my head rent free. Idk more wholesome stuff just seems more special when you write it. Anyways. I would die for you. But the point of this ask is cause I'm curious as to why you don't like Urban Legends? I'm sorry if you already talked about it here or on twitter and I missed it. I was just wondering because I really enjoy your take on things and would love to hear why you dislike it. I've been enjoying it so far personally, but I am always open to DC comics criticism.

Aw thank you so much! I'm so flattered by everything you just said. You're so sweet ❤❤❤❤❤

I haven't talked about Urban Legends here or twitter (I haven't been very active in either place lately. Just a lot going on and no energy 😔) but I'm happy to do it here.

Before I start though, I just want to add a standard disclaimer and make it clear that if you like it, there's nothing wrong with that and you don't have to let me ruin it for you lol. Like what you like.

That said, since you asked...

I said this when I was talking about it on discord, that there is a difference between hope and expectation. I always hope that a new story centered on Jason (or anyone really, but things have been especially egregious for Jay for 15 years) will be good or at least treat the character with a minimal level of respect (to be honest, the bar is super fucking low). But my expectations always temper my hope, to keep it from getting unrealistic. Because my expectations are based on experience.

The long history of Jason Todd, since even before his resurrection, has been one of retroactively trying to make him "a bad seed" in order to absolve Bruce of any responsibility in his death.

I don't even expect DC or their writers to start honoring the fact that Jason was not an angry, reckless Robin (and less of the later than Dick or Tim and definitely Damian). There plenty of ways that retcon can be folded into his history and be compelling and sympathetic. And if they're going to stick with that retcon, I'm only asking that they do it in one of those compelling and sympathetic ways because Jason was 15 when he died, heroically, in one of the most selfless acts in comics, to save a woman who literally handed him over to be brutally murdered. He was 12 when Bruce plucked him off the streets, he'd been homeless and fending for himself for at least two years. I personally think that Jason's story hits harder for him and Bruce if their original, canon relationship, of Jason as starry-eyed and eager to learn and absolutely devoted to Bruce and Bruce to Jason, is preserved. But Jason's origins does leave room for a meaningful interpretation of him as angry and frustrated at the lack of meaningful results of Bruce's methods.

And that's really where my irritation at stories like Batman: Urban Legends, Cheer and Batman The Adventure Continues has it's roots.

Every time one of these stories comes out, I think (or hope, rather) that this will be the one that remembers and respects the origins of the Jason and the Red Hood, that takes into account the changed sensibilities of comics readers in the 30 years since Jason's death and the subtle, 20 year, retroactive campaign to make him the "bad Robin". The "born bad" trope is played out and literally no one likes the message it implies. That some kids are just bad eggs and there's nothing parents or the adults around them can do. Especially when it's played as the kid's fault. If Jason's time as Robin is going to be characterized by anger, then it should be rooted in anger at the social injustices he witnessed as he grew up in an impoverished, crime-ridden, area and the horrors he faced raising himself when every day was a battle for survival. There are topical, meaningful, stories to tell with that backdrop.

But those are never the stories we get.

⚠⚠ Spoilers for Batman: Urban Legends, Cheer ⚠⚠

I'm particularly disappointed in Urban Legends because for the first issue, it looked like that was the kind of story we were going to get. I was put off by the first flashback of Jason being mesmerized by Bruce's guns, and I got that feeling in my gut that it was a bad sign. Jason depicted as impatient and overconfident and the scene with the guns is heavy-handed foreshadowing that got my spidey-sense tingling. I had a inkling then (in the first three pages) of how this story was going to play out, but it was early and I could still see many narrative paths that could lead to a satisfying story. My concerns were soothed somewhat and the little flame of my hope fanned, with the flashback of Alfred scolding Bruce, with Barbara's concern for Jason. A bit of worry returned with the way Jason ruthlessly pursued an addict who didn't appear to be a dealer and with the ending of the issue. The stuff with the addict sat wrong with me but the ending was tempered some by how despicable Tyler's dad was written. The scene was clearly set so that the reader could sympathize with Jason's decision and the scene with the addict could be brushed aside as a side-effect of comics over-the-top need for constant action, so I still held hope.

Issue 2 made me uncomfortable and it's where my hope starts to take a backseat to my expectations. I can dismiss Jason's self-deprecating internal monologue as unreliable narration, except that the flashback reinforces his thought process to explicitly show that it's not unreliable narration, and should be taken at face value. Jason faces physical abuse at the hands of his mother's drug dealer and when the flashback continues later, Jason kills the drug dealer. To be clear, this is a pre-Bruce Jason. His mom is still alive. He's like... 10. He kills this guy for shoving his head into a wall and implying Jason's mother paid for her drugs with sex. This is a scene that serves a single purpose. To show that Jason has always been prone to violence.

In the spirit of full disclosure, there is the small chance the drug dealer might not be dead. But the story obviously wants the reader to think he is, and it hasn't done anything to change that yet.

Starlin already did this story with The Diplomat’s Son in 1988 and he did it infinitely better. AND that’s still technically canon. So now I’m supposed to believe that Jason lost his cool bad enough to kill two douche bags before his sweet 16? Like it’s totally normal for abused kids raised in poverty, who’ve led hard and heartbreaking lives to just... haul off and kill people? That’s bullshit, and when taken with the Jason in the third issue, who is little more than an idiot thug, this story is really doubling down on some fucked up stereotypes.

Which brings us to the most recent issue. I went into this installment with very low expectations. I thought this story was going to be about Jason, through this experience with Tyler, a young boy with a similar background to Jason's, coming to the realization that Bruce's way is the best way and that Bruce did his best by Jason.

That would be annoying (in no small part because it takes increasingly absurd levels of plot armor to keep Bruce's no kill rule relevant, let alone irrefutably right). But I can probably live with that, if only because maybe if Jason officially falls back into line with the Bats crusade, maybe I'll get stories that treat him with respect, stories that don't relegate him to comic relief, dumb brute, or a background body with no lines in a story about the Joker burning Gotham (like Jason would just fucking stand there quietly for that).

And that may still be where the story is going, Jason realizing Bruce is right.

But holy shit do I not have the right words to describe how fucking insulting and gross issue three is.

From start to finish--including the flashback--Jason is written as cruel and fucking stupid. Like straight up dumb.

The entire issue is Bruce explaining the fucking basics to Jason like it's his first day. And Jason flies off the fucking handle and terrorizes a doctor he knows isn't a part of making the Cheerdrops, beats the shit out of some random addicts, and finally, when he can't accomplish anything on his own because he's a dumb brute he calls Barbara for help and rushes in with no information where he's promptly incapacitated and must now wait to be rescued by Batman.

This panel is the least of the issues sins but I can’t screenshot the entire story but it’s representative of the tone for the whole issue (and retroactively tainted the prior two issues).

This is beyond insulting. The only conclusions Jason comes to in this issue are the ones Bruce leads him to by talking to him like he can’t make the simplest connections. And like... in this story Jason can’t make the simplest connections.

This (and the Jason throughout the entirety of this issue) is a far cry from the Jason we fell in love with in Under the Red Hood, who was competent and strategic and intelligent enough to seize control of Gotham’s underworld from Black Mask (who’s no fucking slouch, he’s the first and only person to unify organized crime in Gotham) AND elude and manipulate Bruce until the time and place of his choosing.

This is a far cry from even the Red Hood and the Outlaws Jason who is competent enough to fight the League of Shadows and Ra’s al Ghul (among very dangerous and skilled others) and smart enough to create antidotes for mind control nanotech viruses.

As he should be, by the way. Jason Todd is one of the best, most comprehensively trained fighters in DC’s stable of non powered vigilantes. He’s not irrational or hot headed. He’s pragmatic, tactically minded, and patient. He’s a detective. Right now. Has been since he was 12. Bruce doesn’t have to make him one because he already is. 

Jason is not a stupid thug who uses his fists because his brain doesn’t work. And I can’t tell you how so very exhausted I am by this narrative. 

This is actually the most egregious example of Jason’s skills and intelligence being not just undermined but dismissed entirely. Even Morrison’s Jason had some degree of competency. 

The one, single redeeming factor of this story is the art. It’s beautiful. And Marcus To is a godsend he seems to be one of only a couple of artists who remember that Jason was a child when he was Robin and I’m literally only buying this book because of him. 

Anyway, I’m sorry. I didn’t want that to come out so... um... passionately lol. I’m just very very tired. My intention with this isn’t to ruin it for you, if you like it, that’s fine. 

But this issue shot this story to the top of my "Vehemently Despise” list. 1) Batman: Urban Legends (Cheer), 2) Battle for the Cowl/Morrison’s Batman and Robin, 3) Batman The Adventure Continues.

I hope the next issues somehow salvage this dumpster fire. But I’m not expecting it.

(Damnit. That sounded harsh again. To reiterate, I’m not trying to judge anyone who enjoys it, I just personally hate it and you asked me why lol 😅)

[bigfan-fanfic]

Superdad knows that what Bruce does isn’t that “right”, right?

I think Bruce’s obsession with being Batman and then Selina and all of the messed up shit he causes like making secret files about the league’s weaknesses just might ruin his relationship with superdad and get superdad closer to Clark maybe

Just thoughts

Okay, so what you've got to understand is the prime difference between Bruce and Clark. For Clark, being Superman is, ultimately, a hobby. He can stop if he wishes, but he likes helping people out and saving them. For Bruce, being Batman is not only his chosen purpose, but it's also a coping mechanism. But also consider Superdad's upbringing. He doesn't really know anything else. He's never been anything but an experiment subject and then a supervillain - for a long time, that's his only identity. Possibly for even longer than Bruce's psyche has been fractured. (It's pointed out more than once that for him, Bruce Wayne is the mask and that he personally considers himself to be Batman). But really, Bruce and Superdad are pretty compatible. Both have a somewhat skewed morality due to their upbringing, they're pragmatic and really, they'd just be enablers of each other. Where Clark helps Superdad discover himself beyond the context of villainy or experimentation, Bruce basically just helps him turn his energy towards good.

As for the secret files, that's a different matter. Being the paranoid person he is, Bruce is acutely aware that if one of the Justice League were to be mind controlled/influenced/go rogue, it's going to be nearly impossible to stop them. Like, think about the Injustice universe - Clark going crazy means there's almost nothing that can stand against him. It's not unreasonable to think there ought to be some kind of safeguard. And yet, Bruce makes a pretty typical mistake. First off, even though he comes up with a file for himself as well, he still keeps these files in existence - for what? This is not only overconfidently assuming he can keep these safe, but also that he'll never end up mind controlled or influenced. Or more likely, it's because he doesn't want to give up control because he often does stuff that would make the rest of the League turn on him.

In either case, I don't think it'd do much to turn Superdad against him. Superdad's a "normal" human like Bruce too, and would understand the need to have a contingency plan in place.

As for Selina... that requires some more analysis. From the inception of her character, she was intended for sex appeal. (Ironically, as her character developed over the years, her costume became more sexualized - many may not recognize Selina if shown her original design when compared to the leather-suited, whip wielder she is today) Even now, Selina is basically used as the most common example of the enemies-to-lovers trope. I have my own problems with this, but honestly, in most versions of Catwoman, her and Bruce forming a romantic relationship just goes against most of Bruce's characterization and makes him just another guy looking for a score. In most cases, she's an unrepentant criminal, and constantly ends up reforming and then somehow or other goes back to being a criminal.

I think part of Bruce's constant attraction to Selina comes from his idea that he can somehow "save" her or turn her to good, and her constant flipflopping from good to evil keeps him on that hook. But Selina doesn't want to be saved. If she becomes a hero, it's on her terms, and not because she was 'rescued.'

Superdad is basically Catwoman with way less moral ambiguity. He's a supervillain that isn't really a villain because he isn't selfish or hurting people, and he 'turns' to good with Bruce's influence, so basically he's got pretty much all he needs there that he'd never really need to look at Selina again.

[cultofstan]

My love for Bane!!

Before you read, I want to make it clear that there are some nsfw parts to this posts. If you are under 18, please don't read!

This post will go over various details and reasons why my heart belongs to the big green giant know as Bane from Batman and Robin (1997). Get ready for a long read, because I've got a lot to say.

(If you haven't check out my Bane Wallpapers, go do check them out! They bring me so much joy, I hope they do the same for you ppl too!)

His mask is very cool and unique, because if you look closer you see they used Bane's comic book mask as a base and then just changed the mouth area and added black eye pieces on top of the red piece he normally sees out of. Imo, it is the best movie Bane mask we have ever had! A lot of people hate the multiple tubes coming out of his head, but I think it makes things extra spicy! A constant reminder that your not just dealing with any normal super human, you dealing with a venom infused one that can fight you like it's nothing! The bulging veins that can be seen in certain lighting is a detail I feel deserves more love. It adds to his big and tough demeanor. You can really tell the venom is working wonders on him! The zipper on the top of the head and the fact that his mask is most likely made of tight leather or latex brings thr entire thing together and is truly a marvel to look at! I absolute love it!💚Imagining him slick that smooth, stretchy, husky mask on while the venom starts to pump into his brain and muscles just does things to me. If Bane offered me a chance to wear it, venom or not, I would do it in a heart beat! It would probably reek of sweat, his bad breath, and of old leather, but I wouldn't care. Just the thought of inhale all those smells brings me a joy I can't describe! 😍

When I was a kid, in addition to his lovely mask, his clothing choice was another thing I loved about him. It looks like Bane is just wearing a black cotton tank top with some black sturdy pants, but I've always the headcannon that it's actually very flexible black latex one piece! It makes a lot more sense when you notice his collar, chest harness, wrist bands, crotch diaper, and boots are also make out of a harder leather with spikes and studs! I swear, half of my clothing choices/dreams come from this man! His boots, for the most part, are very frankenstein/gothic inspired with thick sole and it going all the way to his knees. The copper rivets are the only things that make them stand out, imo. I've had thoughts were in order to prove my love to him I have to lick or kiss his boots while he judges. I'd hate it for the most part, because they probably taste like dirty and dust, but I want him to know that I do love him, so I'd do small smooches starting from his toes and work my way up his leg until I'm straight up licking his boots. I'd get so carried away he'd probably make me stop pretty quickly so I don't get sick 😂. His spiked collar and wrist bands are easily the clothing items I want the most! Any time I see someone on the street with spikes in their clothing I immediately think about him. Because he's worn them for so long, they're probably not that tight or rough but still firm enough to not sag. Maybe even a little flaky in certain parts. I don't think I'm comfortable with myself enough to wear a collar in public but I've come so close to buying spiky wrist bands or gauntlets it's crazy I don't actually own a pair yet. One day, I'm sure. His crotch diaper, for lack of a better name for it, is the one thing I'm 50/50 on. Some days I think it really adds to his look, especially with the spikes that go out. Plus, to a certain extent, it makes practical sense because that way heroes cant go from behind his and try to restrain him, or can't throw too many kicks, without getting poked/cut by the spikes. But other days I think it just doesnt look that great, because it ultimatly looks like a big metal diaper, it takes away from his intimidation. Plus, I won't be able to give him proper hugs! (I want to give daddy all the hugs he deserves! 💚) His chest piece is what brings everything together. The little Bane symbol is so cute, I've always looked for a pin or something to buy but no luck. I actually used to have this Bane cape that I won at Six Flags when I was little. I cut the symbol of his face out of it and tried multiple times to attach it to my jean jackets but I suck at sowing. 🥲 The leather straps that hold the chest piece compliment the other leather pieces of his outfit. The metal looking chest piece looks wonderful and adds a layer to his character that I both love and hate. In this movie he's a drone, a mindless agent that is only allowed to follow orders. I'll will discuss this in a bit. But for the record, I hate the fact that Bane is written as big dumb idiot in this movie. It's the one big problem I have with him, which sucks because I literally love everything else about him!

I've probably watch the Bane transformation scene in Batman and Robin, like, a thousand times. No joke. I didn't realize it then, but seeing a short, thin, twink become a tall, hulking, king really hit my desires in the right way. Like, now, I know for sure that's one of my kinks and it makes me so damn happy! Granted, I've never been skinny in my life, but I've always wanted to be a musclar and strong man, so it makes sense why I love this scene so much. It's a literally fantasy of mine brought to life! More specifically, I've always wanted to be a type of strong that allows me to run miles like it's nothing, throw punches that instantly knock someone out, and lift so much weight that I borderline have a superhero body. Don't get me wrong, this is seriously mentally unhealthy because I know it's kind of impossible considering my personality and the actuality of gaining so much muscle, but I believe as long as I realize it's a dream and not beat myself up over it, it's not too bad of a thought to have. Actually, if you think about it, this Bane is kind of a plus size body representation. Sure he's got giant arms that can crush my bones like tooth pics, but he's pretty bulky with a big belly. That might be too much of a stretch to say, and I totally understand if people don't agree with. That being said, I have to say it, this man probably gives the best hugs in all of Gotham! He's so big that you don't even need a jacket in the house! Just let him embrace you and you'll never feel alone or cold again! His thick hands holding you in really tight, his muscles locking you in and warming your arms, while his gut pushes you back a little of your feet, like he wants to swoop you into his arms and carry you! 🥰 He'd be careful with his spikes of course, don't worry. A detail that sends me over the moon about Bane in this movie is his green skin. I can't put my finger on it, but it really adds to the whole transformation and therefore my thirst for him grows even bigger! Especially because it's completely unique to the movie. It looks so good that I wonder why the comics haven't adopted something similar.

I could go for hours about how I think the writers butchered Bane's character in this movie, but I want this post to mainly act as a positive appreciation post/background for head cannons that I might post about him one day. So to end, and give a taste, I'll finally talk about Bane being a drone in this movie. In weird way, because he's played as a mindless servent, it makes this version of Bane one of the easier Bane's for me to fantasies about. This is because in the movie, it's implied Bane only follows Poison Ivy because she was the first person he didn't see as a threat. Plus, I wouldn't be surprised if she used some of her suductive powers on him. (I would too, just saying) So, with that established, I like that he's a mindless drone because it means that, in my head, he's not exactly my "servant" but he will basically do whatever I say. Why? Because I will prove to him I not a threat either, and only want to love him!! He'll have a concuious and his own goals, and I'll follow along and help because I trust him and want to support him, but, for the most part, he will do what I say and love me in return. I could explain this more, but I want to save the juicy parts for the follow up post I have planned for this. 😏

If you've read this far, thank you. From the bottom of my hear. I've never wrote something this personal or long. I hope I can continue to do more of these, if I'm passionate enough.

[modernday-orpheus]

Okay, hear me out. If Tim idolized Batman instead of Robin, Bruce would be dead.

(long post under the cut!)

Disclaimer: I am not perfect and don't know everything there is to know about comics! Some shit here may be accidentally based on fanon rather than canon! Please be nice!

Tim, of course, respects and looks up to Batman. Bruce is his mentor and his father, so it's safe to assume he loves him as well. But his Hero™ is and always has been Robin, Dick at first but especially Jason judging by the timeline. Most people in Gotham view Robin as an addendum, an extra, nothing more than a kid sidekick. They’re disappointed if her shows up without Batman, and question his abilities. Tim’s hero worship combined with his knowledge of their identities, in this case, allows him to see things as they truly are. For Tim, Robin is a light in the dark, a balancing act with Batman, not his sidekick but his partner. He’s a necessary part of the Dynamic Duo because while Batman represents Justice, Robin represents this Hope for a better future. Sure, he’s just a kid; by all accounts he shouldn’t even be out there fighting, but maybe, if he is, no other kids won’t have to fight as hard just to survive. He represents the soul of Gotham, underneath the criminality and corruption; a city full of people, tough-as-nails, saying “No, fuck you, this is our city” despite the constant danger. He represents the people who come together in times of crisis, who help out their neighbors when each new disaster strikes. He’s trained in martial arts, of course, and he’s a skilled fighter, but Robin’s primary job is always the safety of civilians. He’s the one that gets scared little kids out of a burning building while Batman keeps the villain of the week busy, the one who stays behind with SA victims walks them home because Batman is too much for those things. He uses fear where Robin uses kindness, compassion, and love.

Tim sees this. So, when Robin dies and Batman is getting rougher, more violent, more careless, he notices. He notices that Bruce is picking bigger fights than he can handle, taking hits he could dodge, breaking four ribs instead of two, barely making it back to the manor each night. If he idolized Bruce, at this point, he would trust him the way the rest of Gotham does. He would assume it was a rough patch, and Bruce would recover, and that Batman would always save the day. He would see a solitary hero, the way Batman wants to be seen. He wouldn’t think it necessary to reach out to Dick for help, and even if he did he would think Nightwing would be enough help. He wouldn’t understand the importance of the Robin mantle, the specific role that needs to be filled. Nightwing can represent a lot of things; fluidity, positive change, and freedom come to mind immediately, but there's no world where Nightwing represents Gotham and Hope the same way Robin does. He can’t serve the same purpose anymore, not in that uniform. Bruce would die at Two-Face’s hands in that very first arc, I have not a single doubt in my mind.

Then, as Tim comes back to Gotham post-training and actually starts to help out, it’s common for him to be the conscience. He falls easily into the role of Robin, the role that makes him protector of the innocent. He’s not like Jason, raised by these streets in a very different way, though I wouldn’t say either is better or worse. Where Jason struggled and had to fight, out there each night pre-Bruce out of necessity rather than choice. He knows all the best hiding spots and back-alleys because it kept him alive. He chooses to be Robin because he needed a hero and wants to be that for other people. Tim chose those streets, and he chose them for Robin. He knows the best hiding spots because they put him closer to the action, because he raised himself on all those cold nights alone on rooftops with his camera. He knows the back-alleys because they made him faster, made it so his little kid legs could keep up with his hero so he wouldn’t miss a moment. He lives for Gotham nights, for the thrill of seeing everything, getting to know everything. He chooses to be Robin because where his parents failed to teach him how to be a good person, Robin stepped up. He bases his morals off of watching Robin help people, and because he’s a kid he assumes that it’s normal to behave with altruistic intentions and prioritize others.

There’s a point to be made here, briefly, about how this lends itself to Tim’s self-worth issues and insecurities. If his job is to assist, supplement, guide, and fill in the blanks when Batman fails, he doesn’t have the option of failure. He expects that how he does his job, as long as the job gets done, doesn’t matter because he doesn’t view himself as the hero. He never views himself as a main character in his own story; he truly thinks he’s doing what anyone else in his position would gladly do. This is why he overworks himself, why he’s known for living, for lack of a better term “like a goddamn ninja turtle”. It’s why he’s always Robin or Red Robin or even his public persona Timothy Drake-Wayne but rarely Just Tim. Very few people get to see Just Tim, normal Tim, because if they’re seeing that then he’s not doing his job.

All of these factors lead to Tim’s conclusion that if no one else can get Batman out of this state, least of all Batman himself, of course the next logical conclusion is that it’s his responsibility to step up and do the job. Furthermore, it’s only because he idolized Robin that he can fill the role properly because his relationship to Bruce, especially in the beginning, is nothing like Dick and Jason’s relationships with Bruce. He’s not his kid, doesn’t bring Robin’s joy and hope home, so instead he has to work twice as hard in the field to keep Bruce away from the edge. He’s the first of the Robins to view himself as Batman’s protector rather than the other way around, and he’s the only one who Bruce acknowledges when he tries to fill that role. Bruce accepts it when Tim manages him, reorganizes his files, forces him into the medbay, even when he very occasionally goes as far as to outright scold him rather than just pressure him to make the right choices. He’s given an inch and takes a mile, because he believes (rightfully, in my opinion) that if he doesn't then all hope is lost. And Bruce allows him to help, to guide, as much as he’s willing to because he’s not his kid first. He’s Robin first.

This mentality carries over to the Red Robin arc, where Tim spends an entire year chasing after Bruce to save him. He does it alone, and although he asks for help he doesn’t actually expect it. Furthermore, because his morals are based off of Robin in his infinite altruism rather than Batman with his rigid rules, he doesn’t mind working with Ra’s al Ghul. He doesn’t mind betraying Ra’s by killing his men, by blowing up his bases. He doesn’t tell Bruce about it to protect Bruce from having another murderer under his roof, and because he doesn’t think it matters enough. Bruce isn’t surprised when Tim is the one to save him. I believe he would have been if any other Robin had shown up. He and Dick have had a strained relationship for years, he and Jason aren’t even on speaking terms, Stephanie was so often full of rage at him throughout her run as Robin and is dead at the time, and he doesn’t even really have a relationship with Damian. Aside from all of that, he’s assumed dead. He can’t assume the Justice League will spend their time saving a dead man. And yet, despite all of that, he isn’t surprised when Tim is the one to pull him out of the time stream. He’s disoriented, sure, and a little surprised it was possible for him to be saved at all, and he even wants to hear about how he figured it out, but his doubt is never placed on the fact that Tim would be the one to understand and tear the world apart to bring him home.

I believe this also helps to explain Tim’s struggle with letting go of the Robin mantle, outside of the fact that he was the first to have the choice to move on taken away from him. If he’s always been Robin first, always felt the weight of that on his shoulders, what is he supposed to do when his very identity is stripped away right as he loses everyone who got to really know him as Just Tim? How is he supposed to cope with having to reconstruct his own idea of who he is with no one around to remind him? Humans are social creatures. We learn and grow with and because of each other. He’s encouraged by Dick to grow quickly out of Robin to fill a new role, which is a nice sentiment from Dick’s own point of view, but he’s lacking a sturdy foundation. Not because it’s not actually there, or because he lacks personality or morals, but because he truly views himself and all of his good decisions as just what anybody would do and what Robin is supposed to do. He doesn’t consider that following these morals makes them his, makes them the building blocks for wherever he goes next, he considers them to be traits of a character he no longer plays; a purpose he no longer serves.

[notfeelingthyaster]

Imagine (based on the incomplete fanfic Son of the Underworld) (Son of Hades! Percy AU) (5/5) or (5/10)

Hey so, this is the last part of PJO - I follow into HOO, so before you read this, check on the masterpost - and read the warnings before proceeding :)) Good reading!

Annabeth comes to him, at the end of his fifteenth birthday party, and shows her Daedalus laptop. There's a document open in it, and it's labeled Achilles' Curse.

Percy doesn't read it - he hates reading, in any way or form or language - but she does, out loud.

"I'll think about it"

They have a year. Most of them, even those who aren't year-rounders, are going back to camp, to draw battle plans and stock on the armory.

He feels kinda selfish - for a whole five seconds before he remembers he'll probably die next summer, so he just shrugs it off - Percy deserves this year.

They all leave to go back to camp. Nico seems conflicted over something - but Perseus doesn't question it, there's enough bad blood between them.

Paola is really cool - and Sally really loves her. It's kind of bizarre at first, to see his Mom dating his teacher - and of a subject he hates - but Paola is calm and well-tempered and she laughs at his stupid ass jokes.

He visits Persephone afterward - and it really feels like he has three moms to fulfill his lack of a father - well, he is absolutely grateful for the women in his life.

Percy isn't truly in good terms with his father. The man doesn't really seem to care much for him as a person - he is much more of a trophy son.

Perseus loathes being a trophy son, but at least he has someone to help with his powers - not something a lot of half-bloods can claim.

So he goes back to school with Rachel, and they pretend everything is normal. He tells her about his quests - all three of them. He thinks she understands him better now.

He opens up to her. Tells her about Annabeth - the adrenaline-fueled kiss - and Rachel stops talking with him for a week.

She apologizes when she comes back. She needed to figure some things up - firstly, the redhead tells him she is probably asexual - and maybe aromantic too, but she is not certain because the internet wasn't really clear about that.

Then Rachel confesses that she is not jealous of him in a romantic way - she is envious of his friendship with Annabeth. Percy is her first genuine friend that really appreciates her.

This is the first grudge Perseus lets go for real before it even takes place - Rachel didn't leave him because of teenage drama, she ignored him out of confusion. Everyone is allowed space - he knows this better than anyone.

They don't kiss anymore. Not because Rachel doesn't like it - no, she is all for it - but because Percy is starting to think kisses should mean something - he is saving them.

They kiss once - when Rachel father calls for the first time this year - not to ask about her, but to tell Rachel he found this amazing all-girls school. To Percy, kisses mean comfort.

They cuddle a lot, though. These past few years of fear have made Percy very touch-starved.

It's sophomore year - and Percy is in five AP classes: Macroeconomics&Microeconomics, Statistics, Calculus AB, Physics 1, and Comparative Government and Politics.

He is planning on taking both AP Computer Science classes, Psychology, Physics 2, and Calculus BC next year; leaving only Electricity&Magnetism, Mechanics, Chemistry, and World History for his senior year.

If he lives, he is working on a tight schedule here. He doesn't know what he wants yet - and if he is in constant danger, it's already pretty lucky he can do high school - but probably something with Math.

Rachel says fourteen AP courses are ambitious - that he'll burn out. But math comes to him easily enough - it's in his blood.

She is also overworking: She is taking AP Environmental Studies, Art History, Drawing, 2-D Art and Design, and English Literature and Composition.

They complete each other. Rachel is planning on taking as many Art, History, and English courses as she can - he is taking as many Physics, Math, and Science as he can handle.

(She is also going to take on Japanese studies for some reason - probably for her GPA, but Perseus just teases her that she is getting too invested in anime)

Perseus doesn't care about languages anymore - the only languages that matter to him are C++ and JavaScript now.

They study together, they take naps together, they climb to the roof together, they flee school to visit Sally together - he is the Pinky to her Brain, the Scooby to her Shaggy, the Lois Lane to her Superman, the Robin to her Batman.

They look like troublemakers - They are honor roll students, but she is always with ripped pants dirty with paint, and he is always full of flowers everywhere, even in his muddy converses - a cliche to kill all cliches.

They're both nerds - he is the classic one, all polo shirts now, the first chair for every number-related class - and she is the artsy one - there's a brush behind her ear and her hair is so messy that half the time it covers her face.

Paola gifts him a pair of cheap frames without lenses once - saying it adds to the aesthetic - he totally uses them.

Persephone just makes him flower-crowns, and giggles when he matches them with his polo shirts.

When winter comes, he goes back to his hoodies and sweaters and gloves - to find out he doesn't miss them a lot.

Rachel introduces him to polaroids - and they look eerily pretty in the winter, her hair looking like blood spilling over the snow - and he loves it.

If he survives - he can feel Rachel slapping him - when he survives, his college credits will be remarkable. The idea of doing SATs makes him want to cry - reading always does - but he'll get somewhere good - he knows it. Perhaps Stanford. Or NYU. Or the dream of his life, MIT.

He is living his life to the fullest - he starts reading comic books, he gets really (really) into Tony Stark once Iron Man 1 comes out (even if he has to kill at least three monsters just to go to the movies), he plants trees and Rachel starts teaching him how to play her ukulele - but half his mind is still on the upcoming war.

Christmas vacation comes - and he goes to visit Camp Half-Blood, before heading back to his mom. It's quite memorable, if only by the fact that Nico Di Angelo freaking betrays him.

He tells Percy to come to the Winter Solstice with him. Most of the campers are not going - the war effort is in an all-time high - but Percy has never gone before. Hades will be there - it'll be great!

Perseus should absolutely be less surprised with the outcome - seeing that Nico is inviting him in Cabin 1, post-dinner, and they don't even stop to talk to Chiron about it.

But Percy goes. Because Percy wants to make amends.

There's no time to really talk to anyone. They travel in Blackjack for the Empire State Building - and it's fine.

They go up to Olympus, Nico shows him everything in the god's land, the temples are a work of art, if not kind of old, and the meeting is kind of okay, even if the gods are squabbling children.

Then the gods leave, and Perseus thinks they're leaving too.

"My father needs a word with you"

Perseus feels the betrayal claw on him. There are no shadows in the white hall, there's no way for him to escape. Nico looks apologetic - Percy wants to clock him in the face.

"He promised to tell me more about my mother" Nico pleads "He will tell me more about where I've come from. Please, Percy."

Nico is cute. He is, for a soon-to-be fourteen-year-old. But his pretty face and exquisite white eyes don't make him any less of a freaking liar. All his handsome male straight friends betray him - it's a worrying pattern now.

He muses for a second that they also all have a crush on Annabeth - gods, the blonde attract the worst types.

It's double-crossing - Percy ends up in an all-white cell that burns his retinas without any weapons because Zeus wants praise in the middle of this freaking war - doesn't matter if a hundred demigods die, if he only has the glory.

Nico ends up with barely any information - Zeus didn't promise anything. The god of the skies is a lying-ass motherfucker - literally.

And Zeus justifies it - He says Perseus is a criminal because he awakened Typhon. So Hephaestus issues a quest so he can save a hundred demigods, he destroys a powerful titan weapon of doom, and he is the villain? Sure, Jan.

Perseus writes this grudge in his heart - that's where trust will take you. To a cell. Betrayed by a "friend". Again.

He flinches when Nico comes into his cell, pins him to the wall and promptly begins to try and strangle him. He wants to melt in the boy's shadow - to go and never give him a chance to explain - but he looks so guilty Percy waits for his repentance.

The son of Zeus saves him, but Perseus is still pissed off. The god of thunder has threatened to kill him off at least two times now, what is to say he wouldn't have killed off Percy for the sake of glory?

He half hopes Zeus had killed him off. The war is close, too close - Nico wouldn't be the Prophecy's child. There would be no child. Olympus would fall - and Percy would have seen it all from his very comfortable couch in Elysium.

He wants Kronos gone - but he kind of wants Olympus to fall with the Titan.

Nico flies him down to the Earth - the elevator is monitored. Zeus has left, like many others - not to bother with the war effort against his main enemy, but to go to the human world mess with people.

Some gods are doing something - He has heard from Annabeth that Artemis is leading the widest hunt ever, with her brother by her side; Hermes (with Hephaestus help) is delivering Celestial Bronze, other metals, old schematics and a whole lot of fuel to Camp Half-Blood every few weeks; Poseidon is fighting his own war, in the ocean; Dionysus is at Camp - and this time, he is really helpful with the battle formations; Demeter is on the Underworld - Chiron seems to think his father is preparing for war, but Percy sorely doubts it.

Percy is taking some people with him to Sally's Christmas dinner. Just Annabeth, Clarisse, Rachel, Connor, Travis, and Charles - people who don't have a present family to celebrate it with.

Grover is coordinating the dryads up in San Francisco with his second cousin, Gleeson Hedge - they are the first to fall if anything goes wrong in Mt. Othrys.

"I think you should stay." He tells Nico.

"You don't trust me anymore." It's not actually a question.

Percy doesn't trust the boy. Not at all - it's the third time he does something shady to achieve his ends based on emotional turmoil. But he is a good person - it's just his father's cursed temper and his grief.

"It's not that. You're needed for the war effort."

Both of them know it's a lie. Percy doesn't care - he deserves to be bitter a little longer.

Percy goes back home. Christmas is amazing - even if Rachel asks him where Nico is because he is talking about making amends with the boy for a while now.

He goes visit Persephone - but she is occupied, so he wanders through the Underworld after Bianca di Angelo - someone he, for some reason, never been able to reach. It's a pointless endeavor by now.

He finds her. Or else, he finds a shadow of her - she is blocked from his view. Bianca doesn't talk to him - they weren't close - but she guides him to a girl.

Her name is Hazel Levesque.

She seems lost - like most ghosts - but something in Percy calls for her. It's the color of her skin and the sparkle in her golden eyes - Hazel remembers him of himself.

He promises to visit more - even though he doesn't think she'll remember it - and leaves to go back to the surface - he will finish the sophomore year.

And Percy does. After a very distressing break, he is doing his best. His grades drop a little in English because he can barely focus - half his mind is on the war and Nico's betrayal and Hazel Levesque's golden eyes.

Miraculously, his GPA doesn't fall - he still is taking a ridiculous amount of AP classes, and barely has time to breathe - dark circles grow under his eyes, and he looks like a mess - but now he is a Junior.

That's why, as soon as the year ends, Rachel takes him on a road trip with Connor. They go all the way to Boston, then Portland, Quebec, Montreal, Ottawa, Syracuse, Baltimore, and Filadelfia, before going back to NY.

They are stopped five times by the police - because Percy is black, and it's Rachel driving the Camaro, because she has a learner's permit and Connor is, somehow, an approved license holder.

They are on a pier, enjoying the view of the beach. They did the last week alone because Connor wanted to go check on one of his cousins - at least, that's what he said, with an over-exaggerated wink that both Percy and Rachel ignored for the sake of their sanity.

She tells him about Clarion Ladies Academy - but that her father is at least mildly happy with her GPA this year, even if he disapproves of her Art focused AP classes. Percy thinks Mr. Dare would love him, with his APs on Economics and Politics, if only he was rich. And white.

This time, when Charles Beckendorf arrives in a Pegasus to tell him it's time, Rachel doesn't kiss him - she justs hugs him and makes him promise to call her.

Perseus doesn't go to the Andromeda Ship - he is needed in Camp. He is useless on the water - but they do need him to improve battle strategy.

Charles Beckendorf is dead. Thalia is the one to tell them - she was in her father's palace helping with a monster under her Lady's orders - he went on the mission alone.

Percy talks briefly with Beckendorf's ghost - is his worst developed power, and he can barely hold the "seance" for more than a few minutes. He does it with only Nico di Angelo for witness - the others are the way to close to the situation.

There's a spy passing information to Luke.

They look at him. Doesn't matter how much he does, he is always the first suspect - he is a son of Hades. He was friends with a lot of people on the other side. He was gone for a year and a half, who knows where.

Perseus wants to say that he has helped to save their asses four times now - that without him in the Labyrinth, they would all be dead right now - and that Charles was basically his older brother.

Then he points out he wasn't even here - he had no idea of any plans of anything - and he told him about the spy, so he is not the freaking spy, go point fingers at each other instead of him.

When they start yelling, he stops them - this is not the time, he was just angry at their accusations. They have to burn Charles shroud. Silena is inconsolable - Percy is not very far from it, but he is not a public crier. The last time he cried in public, Luke was dead on a cliff.

Percy speeds up the line for Elysium to Beckendorf - his brother deserves it.

They read the prophecy together - Perseus already read it last summer, he doesn't even care anymore. They look at him anxiously - no one has forgotten that he abhors most of the gods.

Clarisse and Michael Yew fight, but Lee Fletcher - with a mechanical arm built by Beckendorf himself, still re-learning how to shoot arrows and forever incapable of playing the guitar again (but the keyboard is not ruled out yet) - stops them: They can share the chariot. The war is more important - is not the time for petty fights.

Chiron shows them Typhon - and Perseus has a sliver of hope that they can destroy Kronos and be free of the gods at the same time - It's a horrible hope, because he loves Persephone and some of them are even okay sometimes, but he really wants Zeus to go to Tartarus for at least a century, so Perseus doesn't meet him again in this life.

But he also wants the gods to win, because there's a lot of dead people - innocents, people who have nothing to do with this war.

He dreams of Rachel. Rachel is painting Luke - and Percy wakes up crying, for the boy the gods took away.

Annabeth takes him aside and reminds him of Achilles' Curse. He is off to May Castellan's house - the last place Luke has been - for it's his best and only chance, its what Annie thinks. And she is scarcely wrong.

Perseus hates the gods. They wrecked a family - and for what? May Castellan - forever waiting for a son that will never come back, haunted by visions of his future, plates of burned cookies everywhere.

Perseus doesn't pity her - he rages against the gods, who brought madness upon this woman and then left her to it. Where was Apollo, the god of health? Dionysus, who is supposed to control mental health? Artemis, whose job is to protect women?

Hestia is kind - but she is still a goddess. She could've prevented this - but she hides in her hearth and abstains - and that's enabling. Hestia enables the other gods to do as they please, even when she is the oldest. She says they ignore her - oh well, she ignores them right back! He has no time for the laments of another all-powerful being.

So he goes to his mother and asks for her blessing. Then, just to be sure, he asks Persephone's too.

He thinks about his anchor - where does he want it to be in his body. He doesn't want somewhere in his back - where he can't see it - or in his gut - where anyone can stick a sword. He settles for the bottom of his back - where he can at least touch it and it's well protected by armor - and dives.

Perseus hates water - and he has an uncanny fear of drowning. He feels pain - everywhere, horrible pain.

His vision now doesn't have Annabeth's face - the blonde is his link to the demigod world, Persephone is his link to the Underworld and his mom is his link to childhood - but the person who grounds him is Rachel.

He is stronger. He feel his powers at his fingertips - Perseus feels the Underworld as a whole, and it's overwhelming.

Green flames explode from his hands. Flowers made of shadows curve around his ankles - he has been training since he was 12, but now his body can sustain all of his power. This is all his.

He goes meet with his father - Perseus manipulates him. He tells Hades he'll be the hero, but the god himself can be praised for more than being his father. That he should join the battle against Typhon - That's his chance of proving himself. Also, there's less paperwork for him if there are fewer dead people.

His father is amused with his blatant bribing, but he thinks about it, Percy can tell. In a way or another, he excuses himself and goes back to the surface where he is needed.

Persephone stalls him. She asks him to stay, just for this night. He can go back in the morning - he sleeps, and dreams of Rachel again, drawing in the sand. In greek.

He is scared for her - she is having demigod dreams, but she is mortal. Something is wrong.

Typhon is getting worse - and Kronos draws closer to NYC. It's time - he calls for Blackjack and leaves - Mrs. O'Leary, who has become more or less of a mother to his own hellhound, follows. Persephone promises to convince Hades.

They have about sixty campers able to fight heading for the Empire State Building, and five healers. The ones too young to lift a sword or string a bow stayed back at Camp with Argus - fifteen children between 5 and 9 years old.

Percy knows he looks different - he looks just like his father. He has gained a godly aura - he has no scars anymore, no imperfections. Perseus looms over all of them - he went from 5'7'' to 6'2'' - it's a weird view, from up there. It's still strange when they look at him with a mix of fear and admiration.

Perseus Jackson is officially their leader. He hates Olympus - but he will give his life to defend every single one of his demigods.

The vision Hestia shows him just makes him want to tear this throne room with his bare hands - Luke was a kid. He was a kid - and the gods corrupted him. Thalia was a kid - and the gods took her life, twice. Annabeth is still a kid - they all are - and she is here planning battle strategies.

Annabeth missed an extra year of formal education - while Percy is a Junior, Annabeth barely qualifies for a Freshman - because the gods took this from her too.

Percy rages. The ground of Olympus trembles beneath him - he wants to kill something.

Then Hermes appears - like this whole war is not his fault in the first place, the literal bastard - just to relay a message from Athena that gives them a plan that Annabeth was already putting into works and tells Percy to stay away from Annabeth.

Like she cares. Like Athena has ever, ever, done anything for Annabeth.

Perseus can't punch Athena, so he punches the messager (also, because he freaking guilt trips both of them about Luke). He has nothing to lose - he is going to die by the end of the day anyway, and they need him too much.

He has punched a god before - Ares, in a desert in the middle of Los Angeles - but this time, it's satisfactory. He feels good after it.

Hermes seems strangely resigned - He feels guilty about Luke too, but Perseus doesn't think it's enough. It'll never be enough, not while the gods leave their children to rot in a cabin of rejects and May Castellan bakes cookies for a son that will never come back.

Hermes leaves, ashamed. It's only fair, Perseus thinks. They all should be ashamed.

They see the city asleep - the prophecy is in the works.

Perseus executes their strategy - every cabin is covering a tunnel, with the exception of Dionysus, because Pollux is with the Demeter kids, and the Hecate kids stay behind to use spells to overlook the city. Lincoln Tunnel is getting covered by Ares - who, this time around, is actively participating.

The undetermined who didn't desert are with Hermes - and the minor god's children are divided by specialty - most Hypnos and Morpheus children follow him directly, but the two sons of Iris go with the Apollo Cabin.

Annabeth executes Plan 23, automatons, mounting on Mrs. O'Leary (who has strict orders to take Annabeth anywhere she wants without stopping to play around) - she doesn't need his help with this, and Percy has a tunnel to defend.

That left the rivers uncovered - until Thalia appears, with magical sand money, and made the rivers cooperate.

The hunters join the Aphrodite kids - who are half a dozen children between 11 and 19 - the oldest being Silena Beauregard, who uses a crossbow that looks exactly like her immortal half-brother's one.

His bridge is completely covered on skeletons - but no monster comes, even if he hears explosions. He leaves an English Lieutenant from the Battle of Yorktown in command of the bridge - with Tyene, the oldest daughter of Morpheus, to be in alert and don't let Clovis sleep through the battle. Because he did it before - and while it is funny, it can't happen right now.

Perseus mounts Blackjack - and go see where the noise is coming from. It's the Williamsburg Bridge - where are most of Apollo's Cabin.

They fight - and Percy almost cries when he sees Luke, who is not Luke anymore. Luke, who is a puppet controlled by Kronos.

Perseus kills the Minotaur and the weight of his stone spikes collapse the bridge - and Michael Yew dies. This time around, the bridge falls silently into shadows, and he doesn't bother about searching for the corpse - he saw the boy falling, and his screams will haunt all of them, forever.

This time around, Annabeth is not there to protect him - Ethan also doesn't try to kill him. The Son of Nemesis doesn't leave Kronos side for a second - but there's regret in his eyes.

After the bloodlust is gone, Perseus collapses - Will has to bride carry him back. Overuse of his powers - he summoned skeletons and produced shadows, melted enemy swords (with the bonus of incapacitating them without killing), and sprouted stone spikes everywhere - there's even a vine or ten that he used to hold his friends from falling.

Perseus doesn't sleep quickly enough to not hear the yell of anguish that comes from Lee Fletcher - the pain of losing a brother and not being able to fight beside him.

But he does sleep - and he dreams. He dreams of Hades killing Maria Di Angelo, not Hera, like Zeus told Nico. He dreams of Zeus cursing the Oracle - and he seethes, because he also sees what happened to May Castellan.

He keeps getting angrier and angrier at the gods - it's building inside of him. But his friends are still here, still fragile. He can't let them suffer more.

Perseus wakes up, checks on everyone - most everyone is either injured and/or exhausted, but he checks on every camper. He knows all of their names, their ages, their cabins. - and promises to sit up to talk with Thalia and Nico - war makes him prone to peace - and promptly goes back to sleep.

He dreams of Rachel. He wants to scream for her not to come: but she'll anyway.

Perseus dreams of a boy. He is his age - maybe a little younger. His hair is blonde and his skin is whiter - but Percy glances at his eyes, and there are waves in them.

There's a girl by his side - she is familiar to Percy, somehow. They're climbing a mountain.

The dream ends and Percy can't make heads or tails of it. He asks Thalia if she has a brother, but she says that she doesn't, looking wistful.

Prometheus is tempting - but he knows there's no Luke anymore, there's only Kronos. And the gods are horrible, vile and immature - but they never killed any of Percy's friends. Some of them died for the gods - but never by their hands, so for now, Perseus would toe the line.

He does want to punch Hermes again. He takes the Pythos - if everything goes wrong, he will not hesitate in going down for the sake of his friends - but there have been six deaths, and it's enough.

"Was it worth it?" He asks Ethan.

"Alabaster is alive" And it's all the answer Percy needs.

He dreams of Ethan and Alabaster. Alabaster is alive, yes, but he is missing half a leg - courtesy of Clarisse herself. Luke - Kronos - is indifferent, and Ethan curses the daughter of Ares - "The sword that took from us will take from you"

He contains Hyperion with his shadows. Then he helps Grover (who was half asleep, because of Morpheus) to make the Titan into a tree. It's a pomegranate tree - then he sets hellish fire to it and sacrifices it to Hades and Persephone.

A pig is in the sky - this time around, Annabeth and her frightening army of automatons kill it with Nico's help.

Perseus laughs - because Annabeth has about two hundred automatons under her command, Martin Luther King and Alexander Hamilton leading the charge with a giant bull being ridden by the Mad Hatter behind them.

It's weird to see historic figures Percy admires - like Jane Bolin, Sylvia Mendez, or Abraham Lincoln - fighting alongside people he downright despises - Thomas Jefferson and the goatfucker, herpes-ridden, Colombus. His Comparative Government teacher would have a field day.

Annabeth and Nico's pair up is amazing - They fight alongside like they have been doing it all life.

Nico is a force of nature, flying and commanding the winds to do his bidding - His eyes shine in the midst of the stormy clouds. His specialty is weather manipulation - he hasn't had much success with direct energy or electric discharges.

Annabeth has her mother's tenacity for war - and her clever mind for strategies. It's clear in her eyes - she is racking the weaker points of the Clazmonian Sow in her mind and destroying it. The automatons hold the pig in place - and she makes bacon of it.

Hercules couldn't do it. Nico and Annabeth can, because they have the power and the mind.

Perseus is still fighting off monsters - but they're too widespread, so they retreat to the doors of the Empire State Building.

Percy does a mental tally: of sixty-two campers, six are confirmed dead, twenty are injured and nine are out of commission on exhaustion. There should be 27 orange shirts here - but there's only twenty.

Percy wonders if the seven missing are injured, or dead, or under a pile of rubble somewhere with no one to help them. Is there someone being slowly eaten by monsters? Is there someone alone and injured and abandoned? He doesn't know.

He prays that those seven deserted them - at least that means they probably are alive and well.

Perseus looks at Phoebe's grief-stricken face, and he knows it's not probable - she had almost three dozen hunters with her, and now there's barely fifteen still fighting, Thalia nowhere to be seen.

They prepare for their last standing - Percy keeps conjuring skeletons, but they're no match for the sheer strength of the hyperborean giants. Nico is shoulder to shoulder with the Stoll brothers against a group of telkhines - Clarisse is bringing down a whole giant by herself.

After the Party Ponies save them - Chiron leads the charge against his own father, and Perseus is so proud of his mentor he can't even put in words how much - he goes to sleep. Fighting gets him tired quickly, and they'll come back.

He dreams of Dionysus. Perseus is not fond of any god who is not Persephone, but Dionysus is mostly okay sometimes. He seems to care about his children.

Perseus couldn't care less about the Western Civilization - but he'll care for Pollux. It's one of his demigods, after all, and Underworld people are possessive of theirs (i.e. Hades and Persephone).

He dreams of Thalia, in her father's palace, begging Poseidon to leave the underwater war and help with the invasion - His wife is none too happy with the presence of his immortal bastard daughter.

He wakes up to Rachel's helicopter falling - how is Rachel even awake, is a mistery.

The improbable pair Nico and Annabeth strike again: The girl knows how to fly helicopters, and the boy can fly himself. They save the redhead and the pilot - everything is fine.

"You're not the hero"

"Why did you risk yourself to tell me something I already know?"

Rachel doesn't explain - she can't. But she has a vision that says that he is not the hero. The hero of what? Perseus has no idea. But there's no way any of his cousins is dying for this stupid prophecy.

Suddenly, there's a drakon there. Rachel has another prophecy - Perseus fears she will walk the path that led May Castellan to destruction - that only a child of Ares will be able to kill it.

Bad news: All children of Ares are otherwise out of battle.

Clarisse is resting after a nasty concussion - and her brothers and Apollo's children are fighting yet again because Lee Fletcher is in no condition to stop them and Michael Yew is dead. Ares' side refuses to fight without the chariot - which Cabin 7 has hidden somewhere.

The best they can do is fend the drakon off until a miracle occurs. And it does: Clarisse, in full armor, manages to lead her brothers into battle.

Clarisse is dead. Something shatters inside of Perseus - and he leaves the drakon for the Ares' children to solve - he can't kill it anyway - and starts to vaporize the army behind it.

He is so caught up in bloodlust, that he almost misses Clarisse slaying a dragon. Clarisse, who has no armor. Clarisse, who is alive.

Ethan's curse rang true - Clarisse's weapon took something from her.

Silena is a traitor. She is also dead - which makes her a martyr, and probably going to reunite with her boyfriend in Elysium.

He remembers how easy is to fall for Luke's charm - he was - is - still in love with the guy. Percy thought the son of Hermes could do no wrong - and he wonders how much of his rage against the gods sprout from his influence.

Something evil inside of Perseus's mind tells him she deserved it. It tells Perseus that better her than Clarisse - but he shuts it down, and concentrates on his shining red friends.

He hates Ares. But he might just have an okay side if he can produce such a magnificent daughter.

Silena is the Patroclus to Clarisse's Achilles, and the Drakon is Hector - and the daughter of Ares is sure to parade its dead body.

It's the first time they feel like they are winning. It doesn't last - but as he hugs Clarisse tightly, he thinks he might cry of relief.

Clarisse looks tough - but she is a wonderful human being. She loves Silena with her whole heart - even more than she loves Chris, her best friend. Silena might've been in love with Charles - but she and Clarisse? They are soulmates.

The damned Pythos is following Perseus - and he is done with it. He knows where hope will survive best. Rachel wants him to give it to Hestia - but he owns the fire goddess nothing.

She has never interfered, not once, to help the dozens of demigods with no family that is abandoned in Cabin 11, and he won't forgive her for it.

He sacrifices hope to Persephone because that's what spring is. Spring is the hope of a new life. Maybe, Perseus thinks, it'll convince his father to come.

They go down to make their final stand against the forces of Kronos. There's not a lot of them - but they're not getting through those doors.

Well, his father doesn't come. But Poseidon does, with his whole army, Tyson and Thalia behind him, and the scales seem to turn.

And then Kronos cuts the barrier. Perseus can see his Mom (why is his Mom here with a handgun?!) and Poseidon fighting against the monsters under the eyes of extremely confused mortals.

Some are trying to break the barrier - but it's futile. Kronos has corraled them like sheep for the slaughter.

It's just him, Grover, Annabeth and Nico, fighting against Kronos vanguard - which is big, but not as strong as they are.

Kronos passes him without resistance - Ethan follows, but there's anger in his eyes - not for Percy, but for the monster he is leashed to. Alabaster is not there.

As soon as Kronos powers stop working on them, the four follow the titan - and some things never change, no matter the universe.

This time, it's Nico who falls because of Hera - it's her curse over all of her husband's bastards.

Ethan takes one look at Perseus, and they don't even need to fight. They have been friends for longer than they have been enemies - and they both loathe the gods, but Kronos is as much of an all-powerful controller being as any of the Olympians.

They battle against Kronos - Perseus has only his ax against his scyther - a true Underworld fight.

Ethan dies. And Perseus bloodlust consumes him - it clouds his eyes and he can only keep fighting.

"If... if we've had cabins... and they had thrones"

It's true, and more than ever, Perseus wishes Kronos wasn't such a bastard. He wouldn't bother killing the gods - but the titan is a way worse option.

"LUKE, PLEASE" It's Annabeth. He doesn't have her faith - she didn't saw his transformation. But he tries anyway because he loves Luke just as much as he hates Kronos.

"Luke, remember our summer" But his words are caught up in his throat when the titan throws him against the wall.

But the amalgamation of his friend and an all-powerful being looks confused, so props for his genius best friend.

Kronos shows them a rainbow message of Typhon - and that's where Perseus it's pretty sure he starts liking his father.

Because the Lord of the Dead opens up the earth and gets out in a black chariot guided by skeletal horses like a king. By his right side, is Persephone, in armor battle as a queen should be. By his left, is Demeter, who looks every single bit like the matron she is supposed to be.

Behind him, a hundred thousand dead roars. Charon is mounting Cerberus - and literal hell is unleashed upon the Father of Monsters.

The gods strike down Typhon, sending him back to be locked away - this time, in the depths of Tartarus instead of Mount Etna.

Kronos gets mad. Utterly, undoubtedly mad. He talks about burning Luke's body. Then he hurts Annabeth and breaks two promises in one fell swoop.

"Luke.... remember family" It's what Annabeth utters, but Perseus, already certain of their own demise, is crying now.

"That summer Luke, you promised to never hurt her again. You remember it? YOU PROMISED LUKE!!"

Annabeth's promise was already broken - he had hurt her, all those years ago, in Mt. Othrys. But the promise he made to Percy - that he would never hurt her again - is new and broken, in the river Styx no less.

Luke regains his own body, for a minute, and Perseus runs to him like a man in a desert with no water.

"Please, please tell me there's a way to undo this, Luke, please, please"

"There isn't one, Percy" And it's the first time he hears Luke call him Percy, Percy and not Perseus, in his own voice, in two years. Percy cries.

"We... we don't have much time, hellebore. Give me Annabeth's dagger. Before he... before he takes back"

Luke calls him hellebore and it makes him start crying all over again. He gives him the dagger - and Luke kills himself, taking Kronos out with him.

Luke doesn't need to ask if Percy has ever loved him - Percy kept loving Luke, one-sided as it was, even when Kronos was there.

He still crying over Luke's body when the gods arrive. Luke is dead. Ethan is dead. Silena is dead. Michael Yew is dead. Charles is dead.

He lost three of his best friends in two days. Ethan is dead. Luke is dead. Luke is dead.

Perseus can't stop crying. They take Luke's body away - but he can't stop. Annabeth explains what happened to the gods - most of it, anyway. Apollo says he is in shock - his father says he is a hero.

Perseus doesn't feel like a hero. Was this all worth it? Was it worth it the pain and the death and the suffering?

Persephone touches him - and he has no tears to cry anymore. She can't hug him here, but she'll do so later.

He stares at the walls, listening to his friends being awarded - compensated by their siblings and friends' deaths - with a blank stare. Perseus wants his mom.

They call for him. He raised his head but doesn't bother getting up. He just saved their asses - for the fifth time in a roll. He deserves to grieve.

They offer him immortality. A place between the gods.

He laughs. Zeus looks murderous, but he can't stop laughing.

"My apologies, but I have to refuse," he says. But in his mind, he is thinking about how could they even think he might want to sit between them and be an all-powerful being, be another god ignoring his children and messing with mortal lives while thousands die for him.

"Promise me, on the river Styx, that you'll give me the wish that I want."

They promise him, that if it's within their capabilities, they shall grant him his wish.

"I wish for every child at the age of twelve to be claimed. I wish for cabins in Camp Half-Blood, for every single minor god, and my own father. I wish for Calypso to be free, and to the demigods from the opposite side of this war to be given amnesty. It's not their fault. It's not any of our faults."

"You dare to-" Zeus begins, but Percy is really tired of Zeus.

"We fought your war, we won your battles. We, the unclaimed and rejected stowaways of Cabin 11. We, the children of minor and Underworld gods. We deserve respect. Just like my father deserves a throne, just like the minor gods deserve justice."

"Don't you fear us?" Athena asks, something weird shining in her eyes.

"I thought I would be dead today. At least if I die now, I'm dying for something I believe in."

It stays unsaid that he doesn't believe in them. The other demigods look at him worried - but he is not afraid of the gods.

They grant his wish. Some of them aren't happy with it, but they have to do it. He meets Calypso at the front gates of Olympus - and her smile can brighten the pits of Tartarus. He sees Alabaster talking with Lou Ellen - they are both crying.

He thinks it's the end - it's not. Thalia tells him Rachel left for Camp in her Pegasus - and his father has lift the curse, the Prophecy is gone, but he fears for his best friend.

Perseus is too tired for shadow travel - he does it anyway. He flickers, but anyway, he is too late.

It works. Rachel - his best friend - is the new Oracle. Someone jokes they can't be together anymore and Rachel lifts an eyebrow.

"We never were. Didn't you see the last few hours?" Well, he did out himself. Mostly - they might say it's just friendship, and he will hate the way they twist it. Luke wasn't a villain, and Perseus isn't a pure hero with a heart of gold.

Perseus is healing from lost love - and Annabeth is too. His crush on her was only a crush, he thinks - She is his best friend first and foremost. They cry together at the bonfire that burns away the shrouds of 43 demigods - from both sides - and 16 hunters of Artemis. Their souls all rest in Elysium now.

Alabaster comes back to Camp and helps his siblings to build the new Cabin for Hecate, full of spelled blocks and magic chimneys. Clovis and Tyene have their hands full with their own cabins - it doesn't help they keep getting sidetracked with naps.

Somehow, Nico, Thalia, and his bond over helping construct Cabin 13 - They are both way too invested in the goth vibe, mostly because Cabin 1 looks like a temple, and Cabin 3 looks like a beach cabin. And both of them are so over it.

Perseus doesn't want a goth cabin - he is fighting against the aesthetic for years - but sometimes, there are no arguments. His Cabin is made of black marble, and there are skulls everywhere, with torches shining with green fire. Outside, at least. Inside, it looks like Persephone's garden, with input from the queen herself. It's ready just shy of the end of summer vacation.

Rachel tells the next Great Prophecy. Perseus isn't such a positive person to think it won't affect him - he hopes at least it'll wait until he is done with High School.

That night, he dreams of the blonde boy again - it's his first night without nightmares since the battle. He has a scar in his lip, and his green eyes pierce Percy's soul. Perseus wonders if they'll ever meet, wonders if this boy is one of the Seven of the Prophecy.

But alas, Perseus lets it go. The summer is over - he is sixteen, somehow. He is alive and going to go back to his mortal life and his junior year, and grief. Not everything is fine - but eventually, it will be.

It's not the end. Not yet.

[maxwell-grant]

I hope you don't mind me dropping asks on you every day? Anyways, a general question on modern-day attempts at using existing Pulp Heroes; do you think there is value in setting such tales in the modern day, rather than being period pieces? And if one does do so, do you think the best approach is to go full setting update, or to somehow translate the characters into the modern day, or to go the Legacy route?

I eagerly look forward to answering all kinds of questions, so don’t hesitate to send any my way!. Any feedback or excuse I get to go off on a subject is extremely appreciated. 

Okay so on to your question: 

...Man, that really seems like the billion dollar question when it comes to the pulp heroes, isn’t it? The one at least that every conversation regarding adapting these characters, giving them reboots or new stories, seems to inevitably get stuck on: Should these characters be left as is, or modernized? Is there any point to trying to modernize them when often, at least in the public view, the only thing that separates them from being diet superheroes is their time period? Can these characters even survive as anything other than historical footnotes if they don’t move past the trappings of time holding them back? I’ve been very firmly on both sides of the question at different points and I think every answer inevitably brings up solutions and problems of it’s own. 

For the moment, I’m going to start by saying that it’s something of a case by case basis. For example, The Scarlet Pimpernel is a timeless archetype, but one who’s specific characterization and history is so tied up to it’s time period that it’s far better to just reimagine the Pimpernel into a different character set in a different time, than to try and remove the Blakeneys from their time period, likewise with characters who cross into historical fantasy like Conan or western characters, where they have such strongly defined settings and playgrounds that you’d be losing much by removing them from it. 

But on the other hand, you have characters like The Phantom, or The Avenger, who very clearly could exist at just about any point in time and don’t have any specific complications holding them to the 30s (in fact The Phantom was arguably designed for this, being he kickstarted the whole legacy superhero concept). A lot of the times, people seem to think or insist that certain pulp characters cannot be separated from their time periods, even when they were well on their way to doing so before some unfortunate cancellation. The Shadow, for example. Gibson had no problems updating the character’s adventures to the 60s for the Belmont series, and if The Shadow had maintained the kind of continuous publication that Batman and Superman had, I have no doubt whatsoever that nobody would even peg him as a character that belongs to the 30s and the 30s only, even if a lot of important aspects of his character are tied up in 30s America and The Great War and whatnot. 

To try and streamline this response into something more general, I’m going to state that, yes, I do think it’s a case by case basis where some characters don’t work as well outside their time periods, and others should have left them ages ago, but in general? I think most of the pulp heroes would stand to benefit much more from being set, not just in modern times, but outside of time. Or at least, outside of a specific time period being something that defines and entraps them. Pretty much none of these characters, outside of historical fantasy examples like Conan or characters whose genres are locked into specific past time periods like cowboys, were intended to be period pieces, and yet that’s what they became, because time has been extremely cruel to the pulp heroes in many ways. 

To bring up superheroes briefly, while I maintain that I think the real secret to making pulp heroes work and achieve success again is to distance them from superheroes, or at least the popular blockbuster superheroes, as much as possible, the superheroes have been around running the show for a while now and experimenting a lot as an inescapable facet of pop culture that's worked out monstrously well so far,nso clearly there’s a lot to learn there. The superheroes by and large belong in shared universes held tight by copyright where the weight of accumulating timelines inevitably forces them to either undergo reboots every couple of years, or endure constant quiet retcons snipping away at continuity so the cohesive “Superhero Universes” can function. But there’s no such thing as some big “Pulp Hero Universe” existing anywhere near the same capacity, there’s works gesturing to the idea like the Wold Newton Universe and LOEG and Dynamite’s shared author works largely scrapped together from separate sources all drifting apart, and most of these characters have largely fallen through the cracks of copyright law and into outright non-existence, or are halfway there. Very few modern instances of "cinematic universes" outside of the MCU work, so what we do instead is go the opposite route, closer to DC's "throw anything at the wall to see what sticks" approach.

What I’m getting to is, I could flip through the pages of Jess Nevins’s Encyclopedia of Pulp Heroes, pick about 3 or 5 random characters, put them in a story regardless of whatever time period they used to be a part of, and make something out of it, without anyone stopping to question “Hey, hold up, why is Joel Saber not on Victorian England? Why are Uirassu and Tom Shark in a loving relationship when they don’t even belong in the same decade? Why did you turn Allan Crystal into a talking sparrow? You are betraying the source material, these characters don’t work outside of it”. Because nobody has any idea who those guys are, they might as well be just original names I made up (I didn't, btw), and nobody has any reason to care, they will only care if they read good, engaging stories with strong characterizations that give them a reason to be invested. And if achieving that requires ditching adherence to the source material (which doesn’t even exist anymore for at least a third of these characters), I cannot see that as a bad thing. 

He's nowhere near the ballpark of pulp heroes but I'm going to bring up King Arthur as an example because he’s been on my mind today. 

All of these, and countless others, are King Arthur. I’m no expert in Arthuriana, but from what I’ve gathered, I’d make a pretty good guess that one of the main reasons why King Arthur has been able to endure so strongly, and have so many variations that we have an entire area of study dedicated just to untangling those messes we call Arthuriana, has less to do with his historical or mythological importance (you hardly see that many stories about Cú Chulainn), but because the lore and imagery and events surrounding King Arthur have so utterly transcended the source material that people still dispute what the source material even was, or if he was a real person, or if he was created by the Welsh and stolen by Brits, and etc, and because he's completely free for any writers and artists to mold and use to anything they see fit.

King Arthur is not so much a character as much as he’s a sandbox that literally anyone can play in and reshape as they see fit, with no shortage of existing events and characters and magical items that you can treat as either essential staples, or guidelines and suggestions at best. I have three separate ideas for King Arthur as a big shark man in a greaser outfit who yields an oversized hair comb with fishhooks attached as Excalibur, one where he’s a monstrous dragon who sleeps in the ruin of his former kingdom guarding the only remaining memory of Guinevere left, and one where he’s a disembodied consciousness inside a giant mechanical bear. I could pick any of these and make a story out of them, or insert these into a story, any time I want, and nobody could stop me.

Point is, I think a lot, even most, of the pulp heroes would benefit from having some kind of “no-holds-barred, just do anything you want out of whatever you find interesting about the original” approach, a lot more so than the superheroes already do, because if there’s a single group of characters nowadays that best embodies an “anything goes” approach, a group that is almost entirely in public domain nowadays save for it’s biggest icons and therefore is already available for people to take and spin any way they want, it’s the pulp heroes. These characters have been in stasis for so long, or all but faded into nothingbbut mere footnotes in encyclopedia or records in libraries not even available online, and sometimes not even that. Most of their fanbases have largely died off and they are nowhere near close to gaining new ones, and our changing media tastes call for contrasts as much as it calls for profit. No sensible person would invest in most of these properties as they stand now, which is precisely what ultimately gives them the freedom to be anything at the conceptual stage. The only thing that really, really holds them back is time, which, again, has really not been kind to them. So why adhere to it? Screw time and whatever power it’s long held over these characters, let’s get weird with it. 

So if I have to choose between “full setting update, translating the characters to modern day, or the Legacy route”, all three of which are perfectly viable depending on the character, I think the best option, generally speaking, is full setting update, if only because the setting should never be the main priority in the first place. The setting, like everything else, is there to serve the story and the author’s needs and wants, and I’m of the opinion that the setting should always primarily exist in service of the characters, as my writing and my favorite writings are all character centered above all else.

I think putting the pulp heroes in radically different time periods and settings could even yield interesting results. Genndy Tartakovsky’s Primal stars a caveman Conan/Tarzan type protagonist interacting with dinosaurs, Alan Moore’s V for Vendetta is a Shadow-esque character set loose in a dystopian future, Grendel is the Fantomas of 1980s New York, and so on. The precedent is there and I think it can be taken much further.

Really I think a lot of the problems and arguments that have arisen over the years in regards to adapting the pulp heroes often result of people overthinking things, lord knows I do enough of that all the time. I really think it’s just something that only seems impossible because it hasn’t really been done yet. Of course, in regards to The Shadow I obviously have a whole different text as to whether I’d want him to be adapted or not, but in general, my ultimate response to what you asked is just do whatever you think is gonna make the story better and the characters more interesting. A.K.A, do whatever you want.