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linkspooky · 5 months ago

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JASON TODD VS. DABI: WHY NOT ME?

"You haven't been here long but you've seen him, right? The batman. The batman. He lives in darkness, to find the helpless and bring them into the light. So I have to wonder...why couldn't he do it for me?" The Boy Wonder: Issue #2

This is the story of the boy who didn't get saved. The story of a boy who really ought to have been saved. Of course, every victim deserves to be saved, but this boy was the son of a superhero. Can a hero who saves everyone, but fails to save his own son really be called a hero? As for the son, how does it feel to watch his father save complete strangers but let him fall to the wayside?

Jason Todd and Dabi are two characters with similar backstories and motives (so similar it's possible Dabi is outright based on Jason Todd) which are worthy of comparison. These are two tragic arcs which explore the conflict between a hero's responsibility to act as a father, and their responsibility to save people. As I said they are tragic because in both cases the hero fails, as a father, and a hero. However, I'm comparing the two because Jason Todd's story is a well written tragedy, and Toya's story is not.

If you were to write a story of my life, it would surely be a tragedy.

Aristotle's Poetics is the first attempt to define what Tragedy is, not as a story where sad things happen but a specific story structure. He outlines not only what makes tragedy, tragedy, but also what makes a good tragedy.

The Plot, then, is the first principle, and, as it were, the soul of a tragedy: Character holds the second place. A similar fact is seen in painting. The most beautiful colours, laid on confusedly, will not give as much pleasure as the chalk outline of a portrait. Thus Tragedy is the imitation of an action, and of the agents mainly with a view to the action.

I use this quote because the painting metaphor is a great way of explaining what I'm getting at, you can have a painting with the most wonderful colors, you can have a story with really good ideas like the Todoroki family plotline but if you don't use those colors correctly all you're going to end up with is a bad painting.

In poetics Aristotle clearly defines a tight well-structured plot as the first priority for effective tragedy, character as second.

Again, a beautiful object, whether it be a living organism or any whole composed of parts, must not only have an orderly arrangement of parts, but must also be of a certain magnitude; for beauty depends on magnitude and order. Hence a very small animal organism cannot be beautiful; for the view of it is confused, the object being seen in an almost imperceptible moment of time. Nor, again, can one of vast size be beautiful; for as the eye cannot take it all in at once, the unity and sense of the whole is lost for the spectator; as for instance if there were one a thousand miles long

To make sure you understand, it's vital in tragedy for all the pieces to fit together. Tragedy is a specific story format. Good tragedy uses the parts of a story well, but bad tragedy is sloppy and poorly put together. In tragedy, the whole has to be greater than the sum of its parts. The Todoroki Family are all good characters out of context, but the story could have enhanced their characters but detracted from them due to how poorly it is told. The fact that a lot of MHA fans are in love with the Todoroki family out of the context of the story, but also have constant complaints for how Horikoshi handles their plotlines is, in my opinion, very telling.

What Aristotle goes on to posit is the best tragedies do not come about by accident, but rather by the direct actions of the characters.

But again, Tragedy is an imitation not only of a complete action, but of events inspiring fear or pity. Such an effect is best produced when the events come on us by surprise; and the effect is heightened when, at the same time, they follow as cause and effect. The tragic wonder will thee be greater than if they happened of themselves or by accident; for even coincidences are most striking when they have an air of design.

Therefore Tragedies require consequentialism, like Newton's Third Law, every action will have an equal and opposite reaction. To simplify a good tragedy arises from the consequences of the character's actions (or inaction). The most basic form is that the hero of the story will have a tragic flaw that they fail to improve upon in time and then leads to their destruction. In essence, tragedy is where the hero fails. Not only does the hero fail, but the hero loses, and that irreversible loss is what defines tragedy. Medea slays her own children, Oedipus rips his own eyes off and deserts his kingdom, Creon Antigone is buried alive and Creon's son, her fiancee, commits suicide.

These events share two things in common, they are irreversible (hence why they feel like good endings), and two they evoke catharsis. Aristotle defines the goal of tragedy to evoke terror and pity. We feel alongside these heroes, Medea was abandoned by the husband Jason who she left her home and slaughtered her own brother for, Oedipus did all of his crimes unwittingly and is a victim of fate, Antigone was doing the right thing by burying her brother so his soul could pass on to the afterlife.

There's all different sorts of tragedies, Hamliet explores more here. I'd say UTRH and Hellish Todoroki Family are tragedies centered around grief.

Tragedy works on extreme emotions, and extreme hard-hitting consequences to the hero's failures. The worst thing a tragedy can be is boring.

The Tragic Hero

Now that I'm done lecturing you let's actually talk about both My Hero Academia and Batman like I promised. Both of these stories don't actually feature the central victim as their protagonist, and that is a feature not a flaw.

Rather, the story we are being told is that of a tragic hero, failing to save a tragic victim because of their own personal flaws.

These flaws are called (hamartia) or "error in judgement". A hero, being called a hero of a story is often unaware of his flaws which is central to what makes them unable to fix those flaws in time. That flaw can later lead to a moral failing, such as Othello's jealousy, initially jealousy is an understandable emotion, but then it leads to him trusting Iago over his own wife and killing his wife in a rage.

Most importantly, the hero’s suffering and its far-reaching reverberations are far out of proportion to his flaw.

Let's begin with talking of the heroes and their flaws, Batman and Endeavor. My main reason for comparing these two is in these specific stories they have the same flaw, inability to move past their personal guilt towards their son, and the same conflict the duty of a father versus the duty of a hero.

However, Batman functions as a tragic hero, and Enji does not. The summary of their conflict is right here in these two panels.

A parent is required to place their children above everything else, because they are the ones responsible for bringing that child into the world. Bruce Wayne made the decision to adopt Jason. Enji made the decision to have children, however with Enji you have the added insidious motivation of he only wanted to make designer babies and just didn't care for the ones who didn't turn out right.

Bruce attempts to do both, to act as a father for Jason and also a crime fighter as batman but he can't do both. This comes to a head in Death of the Family when Jason is having serious trouble because of his lack of a strong parental figure, and Bruce knowing that Jason is in trouble chooses still to go off and fight crime instead of staying with him. The choice to place crimefighting over the child they chose to take responsibility for has the unintended consequence of getting that child killed.

Whereas Enji makes the same choice over and over again, ignoring Toya's clear troubles at the fact his father no longer spends time with him and choosing to run away to the world of heroes because he doesn't want to face the fact that his actions are severely hurting his son. Bruce's motivations are more sympathetic admittedly he wasn't actively practicing eugenics, but the choice is the same and the consequences are the same.

Both Bruce and Enji are forced to bear witness to the deaths of their children when they are not there, specifically because they made a choice to be a hero instead of staying by their child's side. A situation directly caused by their choice to be a hero over a father, and a situation that would have been avoided if they had stayed with their child in their time of need. Jason runs off when Batman tells him to stay and gets kidnapped by the Joker, if Enji had been on Sekoto peak that day Toya would never have accidentally lost control of his fire.

This is just the backstory however, the main event that kickstart this plot is the unexpected return from the dead of both Jason and Dabi. Each story follows the same plot beats. A new villain appears to challenge Endeavor / Batman. The villain reveals themselves as their dead son. Both Endeavor / Batman are given a chance to try reaching out to their sons, but they choose not to.

Then even though they are given a second chance with a miracle of a dead son coming back to them, they choose the exact same thing they chose before, being a hero and because of that the tragedy repeats itself. For both of them they are unable to save their son again, and the son goes through a second death. History repeats itself, the lesson isn't learned.

Their fatal flaw is their guilt. This is a story about grief and mourning after all, a son who is died, buried, but never grieved properly, never mourned, an open wound on the father suddenly coming back. The inability of each to process their grief blinds them from seeing the fact the son has come back, and they have a second chance.

Toya has internalized he is a failure, because Enji literally called him that. Jason believes that Batman thinks he is a failure. In both cases the father is the one who failed, Bruce at least acknowledges this but cannot communicate it in any way shape or form.

This guilt and responsibility both Enji and Bruce feel causes them to self-sabotage. They no longer have the confidence they are in the right (they no longer feel like heroes because they have failed to be heroes to their own son).

You can also add the layer of complication that since both men chose to be heroes in the past, they do not know how to handle the situation as a father now that they're being challenged to step up as one. Unfortunately, they are not the fathers that stepped up.

The reason their grief becomes a flaw is because they put their grief over their victims. . Each man is aware too much of their own failure, and while they should feel guilty they make the classic mistake of placing their own guilt over the feelings of the victim. The guilt they feel for causing the death and the genuine grief of losing a son is given priority over Jason and Dabi who you know... actually died.

An overwhelming grief and guilt is understandable because grief is a messy and human emotion, losing a child is an unimaginable tragedy that should never be inflicted on anyone.

Yet at the same time both Dabi and Jason are grieving to. This paradox that Batman only thinks of his own grief at losing a son and never stops to think about how Jason must feel leads to one of the best lines in Under the Red Hood.

"The father had lost a son, and now the son had lost a father."

Batman's guilt is so strong over being the cause of Jason's suffering, that the suffering of the victim himself is ignored. To be fair to My Hero Academia, the Todorokis say a similar line to Enji.

However, this is where I begin to get into the difference between ideas and execution. Tragedies are stories of actions and logical consequences, every action has an equal and opposite reaction in Under the Red Hood. Batman is punished for the choices he makes, the choices he doesn't make, and the choices he fails to make in time.

The Todoroki plotline features almost none of its character making any choices of substance, and because of that the plotline says the right things over and over again, but it all comes off as tell don't show.

I'm going to quote @codenamesazanka's post right here a couple of times because they describe the complete failure of the Todoroki plotline to show us a reason why we should be feeling things for the characters artfully.

We've heard Enji say this before - I'm sorry, I intend to atone. It's indeed the right thing to say, it's exactly what he should be saying and acting. Natsuo is declaring no contact - That's fine, I'm sorry, I accept this as part of my atonement and will continue. Touya calls him a coward - That's fine, I'm sorry, I accept this as part of my atonement and will continue. The public hates him - That's fine, I'm sorry, I accept this as part of my atonement and will continue. But you can only hear this so many times before you want to snap and beat the character, the story, the writing over the head with Enji's wheelchair. Why is that? He's behaving exactly as he should, and yet...

The reason why it fails to evoke strong feelings is because of what we'd called "narrative dissonance." The actions of Bruce and Enji are the same, they both neglect to do anything, make any real attempts to reach out to their victims because they're paralyzed by guilt.

However, we are told that they have entirely different arcs. Bruce's arc is a tragic fall. He's failing as a hero. While we are being told that Enji is experiencing an arc of atonement. Enji is supposed to be improving himself, and Bruce is supposed to be experiencing negative character development but they both do the exact same thing in story. Bruce neglects Jason, we are told by the story, by the characters in the story that Bruce is failing Jason. Enji does nothing in time to actually atone for Toya or try to help him, yet, we are told again, and again, and again, and again, and again, and again that Enji is atoning with nothing substantive to show us this is the case.

To show what I meant instead of telling this scene is in chapter 252.

This scene is the ending point in chapter in chapter #426.

It's just him repeating the exact same sentiment and yet in a more than 150+ chapter gap, Enji never made any action to show he was now placing his family first. Enji didn't say anything to Dabi when he revealed himself as Toya. Enji didn't look for Toya in the months before the final war arc. Enji literally appeared on live TV in a broadcast that Toya was watching and said the very selfish "Watch Me" atone for the crime of creating Toya instead of literally talking about Toya or too Toya. Well, that would have rocked the boat too much... THAT IS LITERALLY THE POINT. Enji had to somehow break from tradition or make some significant sacrifice onscreen to his social standing to show that he's willing to put his family first. Enji decides to go along with Hawks decision to not face Toya head on, making the decision to be the hero for the final time which directly causes Toya to get up after Shoto brings him down non-lethally and make one last attempt to suicide bomb for his father's inaction.

Bruce does nothing for a long time in Under the Red Hood. He ignores his initial instinct that Jason came back and instead makes a long investigation on whether or not someone can come back from the dead in order to distract himself. When Jason takes the mask off, Batman already knew but was pretending otherwise because he didn't want to face the reality.

Even when Jason takes his mask off, Bruce still takes on the "I need to investigate this" angle even though Jason calls him out that deep down he already knows it's the truth. This of course foreshadows Bruce's underlying flaw, he doesn't want to face Jason head on because he feels too much grief about what happened to Jason and his guilt is more important than Jason's own grief. Just as the father has lost the son, the son has lost the father.

What follows is several chapters of Batman fighting crime as usual and making no attempts to directly search for Jason. They cross paths a few times but when they do Bruce doesn't follow. In fact, Bruce only shows up when Jason sends Bruce a sample of the joker's hair and Bruce knows that the Joker has kidnapped him out of Arkham. Bruce almost lets Jason get killed by Black Mask because he doesn't know whether to stop Jason or save him yet again, and then they have their final showdown where Jason has kidnapped the joker to demand Bruce kill him, and Bruce finally attempts to talk him down.

Out of context it sounds like I'm describing the same plotline, to the point where if you haven't read either, it looks like I'm complaining baselessly. Why is one hero doing nothing until it's too late good, and the other bad? The difference is of course context, or rather framing. Bruce's actions are called out by the people around him (Dick, Jason, Alfred) as him handling the situation wrong. Whereas both Enji's internal monologue and other characters say that he is doing his best to atone for his actions and deserves a chance, but the events we are shown in story are the exact opposite.

Here's another example to SHOW my point. Here's Dabi with my special, hardcover edition of under the Red Hood.

I reread the entirety of the fourteen chapter plotline and the majority of internal narrations come from characters outside of Bruce observing his behavior and commenting on how differently he's acting. Jason's backstory for instance is told by Alfred, not Bruce. Dick Grayson the first Robin comments on Batman's odd behavior. The rest are the third person narrator. Bruce has four instances of internal monologues spanning a few pages each in a 378 page story. (Alfred has the most internal monologues and he's presented as a more trustworthy unbiased narrator than Bruce, to get us to question Bruce's actions).

"Information travels on many routes, sometimes it comes predictably like the tides. You just need to know where to stand and meet it. Other times it's elusive and you have to root through the garbage to find it. In the last few years I've come to rely on Barbara Gordon, Oracle, we all did. Utilizing every form of surveillance equipment she has been the eyes and ear [...] but those days are over. I can't rely on anyone anymore. [...] and tonight it's also about the company I keep. It's different with him [night wing] out here. I think about when he was younger, when I was younger, it was different, simpler and I miss it. I miss those days, for that it's hard to be around him.

This first internal monologue is a case of unreliable narrator, because as soon as finishing it Dick Grayson / Nightwing shows up, offers Batman his help and while Bruce at first refuses it the two of them are forced to work together to fight Amazo. What does this show us? Bruce is not alone, but Bruce actively acts like he's alone ignoring the feelings of the other people around him. It exhibits a flaw of Bruce and the bad headspace he is in mentally (if I remember correctly Stephanie Brown recently died in the comics while this storyline was being published. It establishes Bruce's improper coping mechanism with grief, and how he is going about it the incorrect way.

Bruce says I work alone, and then Bruce says it's easier working with Dick, I miss it, but I can't go back to those days. It's bruce's contradictory thinking patterns in the same chapter that stop him. it's bruce's fault he cannot connect to Dick, and he is actively mourning the past because his relationship with Dick has changed.

Now the final part of the monologue in that chapter.

He's quick. Not just fast, agile. He's not thinking about his next move, he's just making it. He's been trained well. And there's something about him. Something familiar. There was something interesting about before he cut the line, before it had been taught. That had to have been practiced. Either that or just plain dumb luck. No it's not luck.

This is the first hint that Bruce already suspects it's Jason from early on but is in denial about it. This unreliable narrator trope also gives an agency to Bruce's decision, he is actively choosing to ignore the possibility that it's Jason because it doesn't want it to be.

Whereas, a lot of Endeavor's plot takes away any agency from him. For example, he doesn't even know that Dabi is Toya, because if he had the sneaking suspicion and ignored it like Batman did that might have made him look bad. We can't have the main character in a tragedy looking bad now can we?

The second monologue is more denial.

That device is from Kord industries. I should know. Ordered it special from them. How can he have it? No more dead ends. No more questions. No more guessing. Tonight I find out what is passing for the truth.

Reading between the lines this is outright confirmation Batman already knows.

The third is a brief reflection in his feelings for Jason.

The armor has to be light enough to fit but strong enough to protect. But sometimes a great many times, it's not strong enough. It wans't strong enough for Barbara who has to fight from her chair. It wasn't strong enough for Stephanie, other dear soldier enough dear grave. And it wasn't enough for Jason. Willful Jason. Who ignored the danger. Who spat at risk. Who was never frightened enough. I've always wondered... always... was he scared at the end? Was he praying I'd come save him? And in those last moments when he knew that I wouldn't. Did he hate me for it?

This monologue directly shows without stating it outright, Bruce is prioritizing his feelings of grief and failure mixing them in with his genuine grief over the loss of a son. it's selfish of him, but grief is a selfish emotion.

Here's the thing Bruce is allowed to be selfish and to not have the correct reaction to his grief, because the whole story is centered on Bruce being unable to get his shit together in time, and this picture into his emotions is an explanation as to why. Bruce is afraid of being hated by Jason. Jason of course has every right to hate him for failing as a father, but still I think not wanting to be hated to a person you loved so much and feel genuinely sorry over what you let happen to them is an understandable reaction.

Meanwhile we have Enji saying repeatedly all the right things in his monologue, the selfless, I don't need to be forgiven, it's okay if they hate me, I just need to atone but he never actually does anything. There's no explanation for why he isn't doing anything either, so that narrative dissonance. We're shown why Bruce doesn't act in time, he's internally a mess to be frank. We are not shown why Enji doesn't act in time because his internal monologue tells us again and again he's committed to atoning and he understands what the right thing to do is.

As Codenamesanzanka says:

Enji is still saying all the right things, but the story isn't giving him the opportunity to actually do the right things. To have his new actions matter. I have no doubt about his sincerity in his mantra, but without the 'show', it's hollow. Similarly, "Let's talk" is actually kinda bullshit too, because it's so vague. This is less about Enji, and more about the writing, how it set up this scene. "Let's talk" or "I want to talk" or any of that variation is repeated 6 times, without anything more or specific added.

There's an excess of repetition of Enji saying he wants to atone, he's ready to atone, without any of that materializing in the story.

As @class1akids says in this reaction post:

It also feels also super-hollow to say he's sheltering the family from the fallout, after they've just talked about how Fuyumi lost her job (and got a new one through the connections she herself built). How is he going to do that?

The fourth because I don't want to write it down, it's just Batman monologueing on how his partnership with Jason is still good and explaining the technical details of his fight with count Vertigo. It's in chapter 10 if you must look it up.

So four monologues total. Two monologues establish indirectly that Batman knows that Red Hood is Jason and doesn't want to face him. The third monologue establishes why he doesn't want to face him, he's afraid of being hated. The monologue is in line with Bruce's actions in the story, Bruce investigates several ways of reviving from the dead instead of looking for Jason.

The character's reactions around Bruce are also talking about how he's not acting like himself. Especially Alfred's who speaks of Bruce's indecision, on whether to put a stop to or save Jason.

"It is curious. He is lost in thought. It is not like him to spend vast stretches of time immobile, where his mind is gripped in the solitary process of deduction. This is quite different. He is hesitating. At a loss for what to do. I believe it is about Jason. And whether or not to stop him or save him."

This is illustrated in two scenes later where Jason spends a long time simply watching when Jason is fighting enemies, first in a fight against Captain Nazi, and second Black Mask. Jason even gives a direct callout of that behavior.

Jason: What the hell took you so long? Couldn't decide if you wanted to let me live. Batman: Shut up and fight.

Observed by Alfred Bruce is completely stalling and can't choose, observed by Jason Bruce can't decide whether to let Jason live or not. Bruce hesitates twice. We know why. We see it in action. It's called out as flawed behavior.

Now let's cover all the tell that don't show that is Endeavor's many monologues.

Pro Hero Arc:

I have to safeguard the future for them. That's the job for whoever's on top. What about the lives I cut short? Just demanding forgiveness isn't enough, it's too late for that. At this point I need to atone there's no other route.

Hellish Todoroki Family 1:

I'm trying to make ammends going forward. It might be too late. but I fall asleep every night thinking about it. Lately it's been the same dream. The wife and the kids looking happy at the dinner table. But I'm never there with them. It might be too late but I fall asleep every night thinking about what I can do for my family. I wish you could be here too, Toya. It's always the same dream. My whole family's there but not me. If I really care how they feel [I'll remain here].

I'm not going to read 200 chapters so I'm just going to ballpark it based on memory. Here we go.

Dabi's Dance:

My eldest, Toya didn't harbor frost within him. He didn't have a way to overcome the inescapable downside of overheating but I nevertheless sought to raise the boy as a hero. [...] Because Toya had more potential than me I placed my ambitions on his shoulders. I thought it could be you. You could have been the one to reach my eternal goal. My frustration... My envy... The ugliness in my heart... you could have been the one to smash it all to dust.

Plot twist this is the only monologue I like. It's different from all the others, and it's the only one where Enji is being emotionally honest. He put the emotional burden of his own emotional insecurities on an eight year old child, and expected to live vicariously through him and when Toya failed to live up to those expectations he just abandoned him. It alligns what we have been shown so far, Enji is not acting like a reptentant man here who realizes the harm he's done to Toya and only thinks of Toya as an extension of himself and his own regrets.

The Fight Against AFO:

My mistakes took the form as Toya leading to many stolen futures. The past never dies. Rage, resentment and even penace wound together toward the future. And the future is a path for the young. A path with so many branching choices. That's why I must win this. [I'll keep paying my penance. I'll win today and keep my eyes on Toya.]

When Enji decides to double Suicide with Toya:

I take full responsibility. I swore to bear the burden and live my life atoning for it all. However, you've been watching me all this time. While I couldn't be there to watch you. You were someone I especially needed to do right by. No I can't let you meet your end alone, but I won't let anyone else get caught up in our tragedy.

Hellish Todoroki Family Final:

I came to talk about what's to come. I'm retiring as a hero. That was my initial plan even before the war started, but now I can't even walk on my own. The hero endeavor burned to death. Your flames were really stronger than mine. [...] You're right. You know everything about me, Toya. After all you were always watching me. And you wanted me to do the same for you, but I didn't. Not matter what anyone says your heat does come from my hellflame. From now on I'll come everyday, so let's talk. It's too late now, so let's talk. [...] You're free to hate me. Anything is fine really, so throw it all at me.

This one is spoken dialogue but it's still a four-page long monologue. Every one of Enji's monologues with one exceptionsays the same thing: I'm sorry, I'll spend the rest of my life atoning for my actions.

We're repeatedly told Enji is atoning but he acts like Batman. Then, his actions should be framed as Batman, not atoning but avoiding any responsibility.

As observed by Class1akids when we were discussing the update:

Everyone else faces an uphill struggle with their lives, but we should all feel sorry for Enji atoning and being in hell. I hate Hori's compulsion to over-write his abusers and over-explain their atonement. He does this with Bakugou too but with Enji it's more irritating. It was so much more enjoyable when he just wrote the thing but didn't point at them and say -> look, they are atoning. Aren't they soooo cool??

Enji's internal monologues and the other characters frame him as some sort of martyr, while on the other hand it's clear by both Batman's actions and Alfred's observations he's not acting like his usual self. In fact, this is an interpretation of Under the Red Hood that I love from the writers of the video game Arkham Knight that does a less tragic retelling of Under the Red Hood:

Batman doesn't fight victims. He saves them.

Therefore if Batman is fighting Jason, a victim, he's not acting like Batman. I'm also fine with Arkham Knight being an Under the Red Hood retelling because it's a different story. Comics do this all the time, different universe versions, popular storylines adapted into different mediums. It also works as a commentary on the original story, by showing what Batman could have done to lead to a more positive outcome it makes Batman's choices in Under the Red Hood worse and more tragic because he could have saved Jason, there was still a chance.

So here we have two flawed tragic heroes who are meant to be both pitied and condemned for their actions. One of them is all pity with no condemnation. The other is both pity and condemnation, Batman is grieving, but also he's failing his responsibility towards Jason. Therefore one protagonist works, the other fails utterly.

I'm not saying abusers don't deserve redemption. I'm not saying Enji should have died in order to atone. I'm not saying that the underlying problem with the arc is that they decided to make Enji sympathetic and a focus of the arc. The most important problem is the breaking of one of the fundamental rules of storytelling: Show, Don't Tell.

The Tragic Villain

Not only does The Hellish Todoroki Family plotline fail to make Enji a compelling protagonist, it also fails it's biggest victim. Now, these are both stories that end with the hero failing to save their victim. So if both of these stories have the same ending, why am I saying it failed Dabi, but not Jason?

Well, let me explain.

Dabi and Jason are both villains turned victims. The stories themselves are about this ambiguity. How much should the be held responsible for their own choices? If they are actively harming innocent people, then shouldn't they be stopped? Should they be automatically be forgiven just because of the pain and grief they've suffered, even if they've been causing it to others?

Both characters are also reflective of their fathers because they are too being selfish in their grief, they want their grief acknowledged and so are violently lashing out.

Jason and Dabi both make plays at being vigilantes at first, Dabi wants to inherit Stains will, and Jason Todd wants to be a better bat-man by taking control of the drug trade in Gotham and cutting crime down by executing gang heads. However, neither of them are being honest with this and it's shown through their actions, both of them abandon their original plans.

In the final showdown all Toya cares about is facing Enji on the battlefield, and when he's on the brink of death his mind erodes to the point where all he can do is scream for Enji's attention while his flames get hotter and hotter.

Let's take about Jason first and how his narrative treats him a whole lot better and more sympathetically, with more humanity than Batman. Jason is still held responsible for his choices, he is criticized by Bruce for murdering gang leaders and passing it off as justice. He's also blatantly shown to be a hypocrite. My favorite scene from Red Hood: Lost Days, the official UTRH prequel.

"I want to kill the joker in a cool way. Just sniping the Joker from a rooftop isn't dramatic enough for me."

This scene, and the final scene of UTRH underlines Jason isn't executing criminals because he believes it's the right thing to do, or because of his stated motivation that killing the joker would prevent more future victims.

Instead his every action is to set up a scenario where he makes a selfish demand of Bruce. He wants Bruce to prove to him that he would choose him over being a hero, by setting up his final scenario. Him, the Joker, and Batman. Jason will shoot the Joker. Bruce has a gun. He can either choose to let Jason kill the Joker, or kill Jason to stop him, either way it makes it clear what Bruce's priorities are.

The underlying reason for this is similiar to Bruce. Just like Bruce, Jason is deeply afraid that Batman doesn't love him. That he thinks of him as a failure. (This is Toya's main reason too).

He also interprets Bruce's failure to avenge him to mean that Bruce didn't even care enough to mourn him. If Bruce loved him enough, he'd choose him over the joker, but he's so afraid that Bruce doesn't love him enough that he's going to force Bruce to choose.

Along the way he's also going to behead several crimelords in order to put an exclamation point on that point.

The way Jason completely unravels in the confrontation shows this insecurity, he begins with monologueing about how batman should totally kill people, until his fear that he wasn't important enough, and his grief at losing his father is revealed.

Batman: I know I failed you, but I tried to save you. I'm trying to save you now. Jason: Is that what what you think this is about? Your letting me die. I don't know what clouds your judgement worse, your guilt or your antiquated sense of morality. Bruce, I forgive you for not saving me. Jason: But why on god's green earth is he still alive? Ignoring what he's done in the past. Blindly, stupidly disregarding the whole graveyards he's filled with people. The friend's he's killed. I thought killing me - that I'd be the last person you ever let him hurt. Jason: If it had been you that he beat to a bloody mess. If it had been you he left in agony. If he had taken you from this world. I would have done nothing but search the planet for this pathetic pile of evil, this death worshipping garbage, and sent him off to hell.

Direct statement, it's irresponsible of Bruce to let Joker live after killing Jason and should have put him down to prevent future victims. Reading between the lines, Batman not taking revenge for Jason is a sign that he didn't love him enough, Jason loves Batman more because he would have taken revenge.

As the confrontation continues and Jason's mental spiral worsens, to the point where he can't keep up his pretense of self-righteousness.

Jason: I'm not talking about killing cobblepot, or scarecrow, or riddled, or dent. Jason: I'm talking about him. Just him. And doing it because...he took me away from you.

The father had lost the son, and now the son had lost the father.

Jason's revenge is just a cover, for his grief at losing Bruce. I think this also shows a really positive aspect of Jason's character to humanize him instead of condemning him for his actions to ignore or even justify the suffering he endured: Jason really loves Bruce.

I mean how meaningful is the statement: "Bruce, I forgive you for not saving me."

Bruce has been afraid to hear the whole time that Jason hates him, that he won't forgive him, but Jason loves him deeply. In fact his love is almost equal to his rage because Jason is a deeply emotional person, and these little details make him human and not just like a plot obstacle that Bruce has to face. A metaphor for his past failures.

Dabi is drawn as a crying boy who wants comfort, Jason is shown to be a crying boy who wants comfort through both dialogue and action without us directly needing to be told. It's a heartbreaking line and doing it because he took me away from you and it lands perfectly because the narrative wants us to just look at Jason's grief. It doesn't add an asterisk* even though he was in pain, he's done unforgivable things that can't be justified to undercut Jason's suffering.

In fact that might be another underlying problem with The Hellish Todoroki Family, the narrative tries too hard to make you feel a certain way instead of just presenting things as they are to make you come to your own conclusion. UTRH doesn't support Jason's revenge based serial killing of villains. It doesn't say he's justified to cut off the heads of mobsters. However, it doesn't excessively state "Well, I'm really sorry what happened to you but what you've done can't be forgiven" so we don't have to challenge ourselves to feel too much empathy for Jason's suffering.

Meanwhile even when Toya tries to express his rightful anger and grief, we're always met with someone shutting him down and saying well yeah, but you're wrong, involving innocent people is unforgivable.

As said by @stillness-in-green in the replies to this post:

I think so much harm (in-universe, but the state of the Twitter fandom makes me think the messages are pretty toxic irl, too) comes out of portraying the Heroes as needing to weigh in on the *morality* of the Villains' actions before they gauge "saving" them, when that is not a thing that glorified cops have any business thinking they have the right to do. Demanding repentance before the rehab is so bizarre.

You can say someone's actions are wrong without using it as a factor to consider whether or not their suffering as a human being should be acknowledged, and like I said there's multiple instances of people just yelling at Toya how immoral he is instead of addressing the elephant in the room.

You're wrong, you're wrong, you're wrong, you're wrong.

(Okay, I understand that some people have interpreted this as a show of Honnae and Tatamae, the Todoroki's who are a very repressed household are finally talking about their feelings even if those feelings are selfish and ugly).

(I'm not criticizing Shoto for saying that the people he killed were his own choice necessarily, Shoto is a character who's actions need to be read more deeply than his words he was dedicated to bringing Dabi down without him burning himself any further start to finished. My criticism lies in the fact that Hori uses Shoto as a mouth piece because he thinks we need to be reminded that murder is bad).

However, even acknowledging that time and place man, time and place. They couldn't have done that in the aftermath, when Toya isn't burning to death?

Hey buddy, you're being selfish.

Toya: AHHHHHHHHHHHHHHH I'M MELTING, I'M MELTING.

This is I feel the underlying problem with the way the arc is written, not because the Todorokis are a very traditional Japanese family and there are cultural reasons they express their emotions differently, I'll give a caveat to that it's a nuance I might not understand.

However, I am arguing the actual problem is tell don't show. Horikoshi thinks that we as an audience need to be told multiple times that murder is bad, and we cannot be trusted to interpret that on our own.

Under the Red Hood shows both sides of Batman and Jason's debate, and let's us just come to the conclusion that Jason is in the wrong because revenge isn't justice. Horikoshi reaches no shit sherlock levels of telling us that we're not supposed to approve of Dabi's murders.

it's also a matter of giving Dabi narrative space to express his feelings, like every time Dabi tries to talk he is continually shut down (Shoto does engage Dabi talk to him and listen to why he didn't come back though I'll give him that) and it seems to be to push forward this weird idea that you shouldn't sympathize with the pain Dabi has endured or the ways he's dehumanized unless he does something to prove he deserves to be treated like a human being first.

Jason gets to monologue and make an entire argument, and his argument also shows the depths of his love for Bruce and what a deeply feeling person he is, and how those feelings being hurt and twisted could logically lead to his lashing out.

Compare this to Dabi who doesn't get a final monologue, but is instead reduced to a completely mindless state where he just cries out for his dad's attention. He doesn't get to make his argument.

Jason and Dabi both choose to blow themselves up, but Jason gets enough character agency to show this is a deliberate choice he's making even if it's the wrong one. He retains his character agency and ability to make decisions until the end of the narrative.

Jason's also you know physically crying. The end result of the narrative is about wrong choices that both Bruce and Jason make together, and then suffer the consequences together. Bruce watches the same failure play out again and he isn't able to save Jason, Jason doesn't get what he wants, he doesn't get revenge and he doesn't get to reunite with his father. It's tragic for both of them, and brought about by decisions both of them made.

Whereas yes Dabi makes a lot of bad decisions leading up to the last war arc, but in the end his final fate is up to a choice Enji made to not face Toya in the final battle.

However, while the final consequence of the battle is brought about more by Enji's decisions than Toya's, it's Toya who endures all the suffering and punishment. It's Toya who is in an iron coffin, and doomed to slowly and agonizingly die with all of his skin burnt off unable to move. Toya doesn't even get agency after the arc is over. Enji still has a wheelchair, Enji can still move around, Enji's still fucking rich, he's not in prison for his actions, he as Rei wheeling him around.

Toya's agency and choices are all taken from him, presumably to serve the plot purpose of making Enji save him to finish off his arc, and then ENJI DOESN'T EVEN SAVE HIM.

Also I think it's important to mention, Bruce's tragic ending is brought about by him attempting to save both, trying to save the joker and Jason with the same action. Whereas Enji's tragic ending is brought about by Enji NOT LIFTING A FUCKING FINGER TO HELP. Yet, it's Dabi who has the lion's share of suffering, and is sentenced to this horrific state of being skinless in an iron coffin and only being able to be awake a few minutes a day with no choice but to waste away.

Bruce is also immediately called out for his actions, by the Joker of all people, you handled this all wrong, it's your fault. Bruce is right to not kill the joker, killing the Joker would not have solved any of Jason's problems, but the fact that he put off facing Jason for so long, and his inability to communicate that he loves Jason is what leads to Jason thinking that the only way to prove Bruce loves him is to force him to choose. It's because Bruce has utterly failed to show him in any other way that he is loved.

Joker: Oh my god, I love it! You manage to find a way to win, and everyone still loses. I'm going to be the one who gets what he wants tonight, badda bing, badda boom."

I'd also like to add that a lot of agency in Enji's actions are taken away too, to make him look more blameless. It's not Enji's fault that he didn't say anything to Dabi during Dabi's dance, he passed out because he had a punctured lung. It's not Enji's fault that he spent a month protecting Deku instead of searching for Toya, he had to protect innocent people. It's not Enji's fault that he didn't go immediately to face Toya in the final war arc Hawks told him not to.

It's not Enji's fault that he made Shoto and Toya fight like Pokemon instead of cleaning up his own mess, and also he feels really sorry for it and as soon as he's done punching the bad guy he'll look after Toya he promises.

Enji does get called out for this behavior but it falls flat because it only comes from the villain AFO, and Toya himself. As I stated above too, the ending is more influenced by Enji's actions not Toya's (because Toya's agency is stripped away until he's mindless) but Toya is the one who has to die while Enji gets to live and atone.

That is the real sticking point for The Hellish Todoroki Family, the way it ends.

Themes Are For Eight Graders

The underlying problem with the whole arc and why The Hellish Todoroki Family fails as a tragedy, is because it wasn't written to be a tragedy.

The above quote is from an interview with the writers of the widely hated Game of Thrones Season 8, which took a sudden tragic turn for Dany's character, gave her an incredibly dehumanizing ending of being put down like a rabid dog by her own lover, an ending that was neither foreshadowed nor did it match with anything written before.

In this meta here by @hamliet it goes far more into depth that Game of Thrones isn't a tragedy, but a piece of Romantic fiction (not a love story, Romanticism is a genre of big emotions, the beauty of life, larger than life ideas hence why it fits well with fantasy genre, it can be sad but it doesn't follow tragic structure).

Dany is a romantic heroine, a deconstruction of the idea of the classic warrior princess trope, and you know a colonizer, but she's not meant to be written as an inherently bad person. There are people who say that Dany was going to die in the original books. I'm one of those people. Me. However, context and framing matters, Dany for all her colonizing ways does genuinely want to do the right thing, so it's likely she'd die a heroic death as a reflection of her selfless intentions (and intentions do matter for fictional characters) whereas in the show she's put down as a villain.

Now watch me I'm going to coin a term for future literary critics to use: Narrative Gaslighting.

Narrative gaslighting is different then Show Don't Tell, where an author has just failed to properly show what they're trying to tell you in the story. Narrative Gaslighting is when a narrative deliberately tries to mislead you, straight up lies to you, or just insists things that did not happen totally happened guys. Much like real gaslighting, Narrative Gaslighting makes you feel stupid for interpreting things a certain way and insists you were wrong all along.

Narrative gaslighting is when Tyrian gives a speech that everyone should have suspected Dany when she burned slavers alive that she was secretly evil and would one day turn on them.

Like, no.

Dany is flawed because she is a foreigner, interfering with the politics of a different country that she does not understand in order to gain enough resources and men to return to her home country and invade that country to exercise her right as a Targeryn to uphold the divine right of kings.

Game of Thrones doesn't mention any of that shit that's in alignment with the previous actions in the story, it's just insisting the very ableist notion that Dany was insane all along and her violence towards other people is the result of her mental illness.

(Also before anyone says, so if she's a colonizer than how can she have good intentions, everyone is Bad in Game of Thrones, they're all waging war to vie for a throne, monarchy is bad guys. IDK how to tell you that Game of Thrones has gray on gray on gray on gray morality).

(Also this aside ties into the hangup of MHA and most popular fandom culture on Twitter, that Dany's moral failings somehow disqualify her from her humanity. In spite of the fact that on top of all of that she's a rape victim, and like, Dany's only on that continent in the first place because she was sold as a bride.)

But here's the same weird subtext that Horikoshi's writing of Dabi. The fact that Dabi was continually victimized and denied human dignity does not need to be addressed, because he did the bad things and didn't atone properly enough for it first.

In essence this random post on the gunnerkrigg court forums I found on the same day the chapter came out, displaying apollo's gift of prophecy.

"When someone is persecuted, it's important to inform everyone about their flaws. That way you don't have to feel anything about all the times that they were denied human dignity."

So, Dany is not written as a tragic hero but a romantic one, we as an audience are both meant to acknowledge her flaws and sympathize with her, not demonize her in an ableist way for being insane, and even if Dany is meant to die the tragic way she dies does not match up with all of the narrative foreshadowing that was built before that.

Like, for instance a lot of POC after the show ended kept telling everyone that Dany's actions in a foreign country were seriously problematic, and not only did the audience not listen but the showwiters didn't acknowledge it with the same subtlety as the books. So those people especially were able to pick up Dany's character flaws, and when the show finally acknowledged them it's not even in the way that critiques of the show were pointing out Dany's flaws it was just "she was insane all along." Not like taking time to go "no matter what the intention, interfering with the politics of a foreign country is wrong."

The problem with the Todoroki arc is essentially the same, down to the ableism (because outsiders continually call Dabi either a maniac or insane Demon without even giving credence to his grievances about hero society he's just reduced to an insane fringe element of society, and Dabi himself is reduced to a completely mindless, childish, insane screaming state where he can't make active decisions).

The Todoroki Arc is not set up to us as a tragic one. The ending is pretty clearly telegraphed to the whole audience. People are not wrong for thinking that Toya's ending would be either rehabilitation like Rei with the eventual hope of being welcomed home, or some kind of house arrest where he still gets to be with his family.

Everyone happy at the Dinner table and Enji not sitting with them.

"I wish you could be here, Toya."

"We all have to go stop, Toya."

"In that case, I'll make him sit down for a bowl with me."

Even Shoto's efforts to take down Toya non-lethally are rendered completely pointless, because Toya gets back up again and then burns himself alive (completely by his own choice so no one has to feel bad that they failed).

The story sets up the expectation that Toya is going to be brought home and sit down for a meal with his family. Then it makes you feel stupid for going in an entirely different direction. It was always going to end this way didn't you know The Todorokis are a tragedy?

Well, I just spent a very long section of this thesis statement illustrating that if it's supposed to be a tragedy, then it's still not written well.

It's a written as a romantic story of a family healing, and the villain getting saved, only for the villain not to be saved and the story to just keep on going like not getting saved isn't a huge failure. This is something that should permanently destroy the main characters, that they got the chance to repeat Sekoto peak and be there this time and they all utterly failed. I feel bad for Shoto most of all because he did everything right, and he still loses his brother, but does the story show that?

The problem is the story is blatantly lying to you about the fact that Toya was somehow saved, even though he LITERALLY LOOKS LIKE HELLRAISER. To quote Codenamesanzanka again:

But I feel the story couldn't give us that because it will remind the reader and everyone just how much Touya will be missing. In-story, talking any more will overburden Touya's heart - and how apt is that metaphor? So let's talk about how we'll talk, but that's all that's allowed here for this scene. Else we'll see how unfair it is that Touya has to be confined to this room, he isn't with his family and they have to come to this prison just to tell him about their day, and soon he will be gone. Details make it real, and it would've exposed the lie that Touya was saved in an actual way. The story knows it too - "this extra time Shouto gave us." This is all 'extra', and not the core. [...] If the story was sincere that this is a case of "it's simply too late" - as it should be!!! imo, to really drive in the clear point that they failed, they did not get the save they wanted, because that's the truth - the tone of the chapter isn't tragic enough for that. The tone is going for 'Making Peace With This'. We've skipped the stages of grief and all we have is acceptance. The characters have accepted this, and so must the readers as well.

Therefore it's narrative gaslighting, the story is making us doubt our perceptions and trying instead to manipulate us to feel a certain way. We don't have to question the unfairness of Toya's fate, because look at all the people he's hurt, and look how Enji is atoning and taking responsibility.

The story builds up the idea that Enji will choose Toya. That he will choose being a father over being a hero. Enji doesn't do that, and it's Toya who suffers the horrific, painful consequences while Enji gets off mostly scott free. Mind you it's also ableist to suggest that being in a wheelchair is some sort of life-ending consequence like he's fine. The story even goes out of its way to say how avoidable this ending could have been if Enji or Rei or someone lifted a single finger to give Toya the acknowledgement he wanted, and then gives it a "Too little, Too Late" conclusion but doesn't acknowledge that this is where it's ending and instead tells us that Enji has successfully atoned.

"Everyone's watching me. So this is what it's like. If it was such a simple thing, then why not sooner?"

If it was going to turn out this way Toya should have just died here, not because death would somehow be a mercy compared to life in prison, but because the Todoroki Family doesn't deserve to get to pat themselves on the back. If they let Sekoto Peak happen a second time, then they should have to deal with the consequences of that.

It would be consistent is my point. This is written as a "Too Little, Too Late" kind of ending, but we don't get the emotional response from the Todorokis that they've let Toya die a second time.

On the other hand, UTRH has the exact same tragic ending but it doesn't make me angry because it's honest about it. The Todorokis let Sekoto peak happen a second time. Batman let Death in the Family happen a second time, but look at how even the narration and comic panels of the story acknowledge it.

"Fate is a funny thing. It swells up like a raging current and we are forced to travel. It provides us no exit. No deviation. It drops us in a bottomless ocean and compels us. We either swim, or drown, and sometimes as we struggle against the tide, a great truth arises."

One ends with Enji meaninglessly stating that he'll spend the rest of his life atoning for Toya and watching over him (which I guess will be like two months tops) for the fifth time. The other ends with Batman being lectured by the Joker of all people of how he chose wrong and being forced to watch once again as a warehouse blows up, and he's completely helpless to save Jason.

UTRH ends with the message that Batman sucks, Enji's atonement arc ends with Natsuo calling him cool for atoning and UTRH makes me like Batman way more as a character. Whereas at this point I feel nothing from the Todoroki Family, except for a disgust for the way that Toya not only has to die, but has to die a slow, gruesome death while the rest of his family walks away with the small comfort of "oh at least we'll get to say what we need to say before Toya passes."

Especially with the fact that Toya's greatest fear was that when he died, he died meaninglessly because his family never grieved him and all moved on with their life. I guess we don't have to analyze how gross the underlying message that criminals don't deserve to be sympathized with because themes are for eighth graders.

EPILOGUE

The post is finished but apparently everyone expects me to cover every single possible angle even in posts this long.

You didn't address the cultural aspect. Under the Red Hood is a western story, and Todoroki Family is based on eastern concepts.

The post isn't about that. The post is long enough I can't cover every single topic. Here's someone who covered that topic thoroughly. This one discusses more about the nuances of collectivism.

Also, since the Todoroki Family obviously copied Under the Red Hood's homework, it warrants a comparison. Especially since it seems to critically misunderstand what made the original work.

Which is a valid form of Literary Criticism, as Ursula K Le Guinn once said:

It doesn’t occur to the novice that a genre is a genre because it has a field and focus of its own; its appropriate and particular tools, rules, and techniques for handling the material; its traditions; and its experienced, appreciative readers—that it is, in fact, a literature. Ignoring all this, our novice is just about to reinvent the wheel, the space ship, the space alien, and the mad scientist, with cries of innocent wonder. The cries will not be echoed by the readers. Readers familiar with that genre have met the space ship, the alien, and the mad scientist before. They know more about them than the writer does.

The Todorkis aren't all to blame for Toya. Natsu, Fuyumi and Shoto are innocent:

You're right. It's just easier to refer them as the Todorokis then specifying "Enji and Rei" each time.

You didn't mention Shoto once in this post:

I have no cricism for Shoto's role in all this. In fact I think he's the best written part. I praise it here.

Shoto is a good boy, and he deserved to spend more time with his brother. The fact he won't be able to sit down and have dinner of him, is the greatest tragedy of them all.

#mha meta #mha spoilers #mha 426 #mha 426 spoilers #shoto todoroki #dabi #toya todoroki #enji todoroki #under the red hood #jason todd #bruce wayne #batman #mha critical #todoroki family

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whirlpool-blogs · 2 months ago

Text

whirlpool's personal MOTA fic recs!

I've actually been dying to put this together for a while now...today is as good an excuse as any! I might not know everyone's tumblrs vs ao3 names so I will NOT be offended if you tell me to correct something!! <3

the big list = going alphabetical order in my folder because YES I do download my favorites, it's like having your own little bookshelf!!

non-clegan fics:

nine mothers' sons by @reallylilyreally (truly beautiful, breathtaking, and **THE** John Brady bible for the fandom so make sure you pray to it every night)

at your heels by @reallylilyreally (this one is Ev Blakely, another really beautiful story that helps you understand just why Crosby's memoir speaks of Blakely with such love and affection)

clegan (or gale-centric, or john-centric) fics:

A Direct Solution by @sweaterkittensahoy (Gale & Marge proposition Bucky...so cute and so hot)

ain't it easy? by @stereobone (dom/sub with john as the dom but ohhh man it's so much more than just that!!!!! this fic is so full of FEELS. and it's also HOTTTT. and also the FEELSSSSS.)

all the rest of what I want with you by @london-cowboy (the level of care that went into writing this fic is insane and impeccable. down to its own internal timeline, little egan kiddos, and the ANGST. but it's all worth it, I promise!!)

back home where you're from, that's the measure of a man by wolfhalls (nice little oneshot of the bucks, I love the back-and-forth of their dialogue in this one, it really does feel like two people who know each other well)

bittersweet between my teeth by @blixabargelds (post-war adjustment...love when the two majors are a little messy and a little sad and also john calls gale the prettiest thing he ever saw so there's that <3)

bluebirds singing a song by ourdarkspirits (Marge jumps Bucky's bones. Then Gale joins. Super fun, super hot!)

Close and Yet Closer by Anonymous (LITERALLY THE MOST!!!!!! FIC OF ALL TIME!!!!!!! Gale is a little bit mean and John is a lot bit sweaty. Like all the time. it's amazing and you should read it and it WILL change your life.)

Corpse Song by birdwif (oof. john is miserable in the stalag he's scratching at the door he's gnawing his own leg off.)

deep breath baby by @defnotanarc (um FISTING. yeah. intense and delicious. side note sometimes the world isn't fair and people who are really talented and amazing at drawing are also really good WRITERS too LIKE WTF!!)

DOG DINNER by @wompire (super interesting writing style, extremely poetic and striking. hits you right in the gut.)

everything and the kitchen sink by @swifty-fox (YEAH THIS ONE WILL CHANGE YOUR LIFE TOO. modern au where gale is a professional dom and john is a journalist who hornily consents to both (1) fucking around, and (2) finding out. in top ten fics of the decade in general tbh)

Freed From Desire by @feyd-meowtha (yoooooo such a fun and free and sexy fic!!! such a great writing style and such a cool remix of all the characters we know and love!)

He wears his love around his neck by kasugayamaisforlovers (Gale character study, he tries to run his little gay thoughts away which is always so fun to see)

hold me like a knife by storm_warning (tw: self-harm, this REALLY gets into John's self-destructive stalag spiral and it's super visceral and wet and heart-wrenching and written with such, such care and precision)

Hound Within the Heart by Anonymous (fairy-tale esque, gets super crazy and pushes the limits of reality but in the best ways possible)

I Don't Wanna Be Alone Tonight by @johnslittlespoon (cuddling for warmth <3 and then a little more <3 <3 so sweet and intimate!!)

I Like A Bad Boy by @nicijones (modern college AU and bucky is a fratty fuckboy type & in this fic he DOES punch a guy for Gale and it's all very hot and sweet and a delight to read)

i wish you wouldn't tell me (about your hawaiian party) by @whitetrashjj (when the fuckbuddies thing gets messyyyyyy because gale catches feelingsssssss, so delicious and meaty!!)

if that isn’t love, it’ll have to do by @irregularcollapse (ALWAYS such incredible character reads from this author, never misses. also facefucking. also FACEFUCKING <3)

i'll be seeing you by @puffanities (a quick 1.6k oneshot but still packed with some really great characterization and powerful language!! 'when the numbers of planes don’t match...')

i'll find you before the dust settles by butidontreallycare (a Westworld AU!! super cool)

in our bedroom after the war by @stereobone (one of those fics that's just like. a pillar of the community, y'know? iconic. classic. eternal.)

Into the Unknown by Melanie_Mikaelson (big win for john whump enjoyers. BIG win. like 20+ chapters of winning)

it ain't for meatball by @meyerlansky (Curt/Bucky. Curt puts the dog collar on Bucky....and it's HOTTTT arf arf i'm barking just like bucky is in this fic...)

It's Not Love, but It's Fun by @sweaterkittensahoy (Curt/Bucky, 500 words so it's short and sweet just like Curt ahahahaha, ANYWAY still such an interesting little read regardless!)

judgment by the hounds by @puffanities (PG, very visceral and tender apology after the stalag fight scene <3)

level-off maneuvers by wormringers (sweet little oneshot of the Bucks in London)

little fix by ForASecondThereWedWon (Algeria <3 <3 you just kNOW those two gay pilots were sniffing and huffing and licking each other's sweat.....this author GETS it)

love means nothing (in tennis) by @irregularcollapse (fics that make you go WEEEEEEEE!!!! every word, every physical action that these characters take is SO precise and well-written. truly like wrapping a soft bathrobe around yourself and also the bathrobe is incredibly sexy and also they're sucking each other off post-game but PRE-shower. also gale's dad!! also margie!! truly such a well crafted AU)

make you feel alive by @sig-nifier (really sweet little oneshot of gale being a little protective of john. and i am ALWAYS a sucker for the 'call off your dog' trope... and it's done perfectly here!)

meet me at the chapel by @swifty-fox (still in-progress and SUCH a creative, inventive universe!! outlaw john you will always be famous to me!!!!)

my kingdom for a kiss upon your shoulder by @swifty-fox (swift can really weave a story like no one else. so many lines that pack a punch. and in the end, they make it <3)

my type by @spaceshipkat (this one is SOOOOO well-written, I always go so crazy for the dialogue!!! such a great push-pull dynamic in this fic)

night terror by @antiquitea (hot! and sweet! and HOT! and angsty!!!!! highlights include: gale gives john a literal countdown deadline to get off)

Obligate Mutualism by bowhuntress (Gale-centric story of trying to get John through the stalag, then returning the England without Bucky, a fic very obviously written with a lot of care and love)

obsessions, and other things by @sig-nifier (the Bucks cope. really great pacing and dialogue, and I always love when fics take the care to delve into john's struggle with alcoholism as well)

of all the gin joints in all the towns in all the world (he walks into mine) by @whitetrashjj (really fun parallel universe where Buck owns a bar, just a great read all-around!)

Oh, I do, do I? by @defnotanarc (DIRTY TALK, like the most delicious, incredible dirty talk you can imagine, this fic nails it!!)

One of your Girls by @soliloquy-dawn (9k oneshot and it's great all the way through, Gale is jealousssss of John fucking around, don't worry they resolve it <3, definitely captures that innocence of pre-Bremen MOTA episodes)

peacetime like a liminal space by @spaceshipkat (this one is PHENOMENAL. post-war, John goes to New York City and turns out it doesn't fill the emptiness. luckily Gale shows up. <3)

Putting Words to It by @impalachick (YEAH THIS ONE IS REALLY HOT. John is a snoop and reads Gale's letters to Marge <3)

Reunited by Flowersandthings (PG, cute & funny oneshot of the Bucks being reunited after Gale makes it over from Greenland!)

Reverie by @avonne-writes (REALLY creative, well-crafted story. Gale and John are soulmates and can visit each other's dreams since adolescence. INCREDIBLE journey and arc in this story, the stalag part is just wow. truly such a gift to the fandom!!).

Rugire by Anonymous (umm omegaverse-ish but with deer dynamics. messy. and SO good.)

SHOTGUN. by pornogirl (YEAH this one is awesome, it's not safe it's not sane but oh boy it is consensual)

Song of Songs by @swifty-fox (sweaty sex sweaty sex sweaty sex)

Spin, Sit, Roll-Over by @glumbabie (Gale is a little mean to John and it's VERY sexy of him tbh. 'DOGS DON'T TALK'???? 'YOU CAN EAT'???????? yeah. read this.)

the chimneys hardly ever fall down by @redbelles (another Gale/Marge + John, and it's HOT. it's SEXY it's awesome!!)

the hand of a good man by @stereobone (John rewrites Gale's daddy history <3)

the jacket by @dogmetaphors (REALLY great sense of dialogue and characterization even in 1.6k words, also shamelessly horny and SO yummy)

The Major’s Wife by tryingmyhandatwriting (John/Original Female Character but like. give this one a chance, I'm telling you!! I'm always soooo compelled by sex scenes that like. are actually a little bit unhappy. and this one SERVESSSSS.)

this must be the place by @blixabargelds (BIG win for Gale whumpers. broken bone and LOTS of blood and super well-written)

To be alone with you by Damn_Illusive (THIS ONE IS SO, SO SPECIAL AND CREATIVE!! freaky army experimentation gives gale and john telepathic communication. incredible separation arc while gale is in the stalag. really, really unique story that is such a staple in my mind as one of the the most incredible clegan stories ever. I think about this one A LOT!!!)

To the Moon and Back by @rambleonwaywardson (iconic astronaut AU, written with SUCH care and love, it's so obvious!! and BIG win for john whumpers. who said that -)

Tough And Sweet (Like You And Me) by @johnslittlespoon (sooo fun and creative and inventive, Bikeriders-esque!Gale and a sweeter, more innocent John. really well crafted)

trading paper dolls by ForASecondThereWedWon (Alex draws Gale pinup girl style in the stalag.....John swipes it.... super great fic!)

two slow dancers by everywordnotsaid (unrequited love, John for Gale, through their journey. I genuinely, actually sobbed for a long time at the conclusion of this fic. I am always thinking about this fic. I think it really captures something about the experience of watching the show and realizing in that hopeless, lovesick kind of way that there's no way to go back in time and save all of them. I still get teary whenever I think about this story or hear the song. It's one of those fics that's not just good, not just great, but somehow also really fucking IMPORTANT. this story MATTERS. you should absolutely read it and save it and imprint it onto your heart. I know it's imprinted onto mine.)

Un Chant d’Amour by @counting0nit (really intriguing take on the interrogation center time frame!)

unicorns, and other extinct animals by @spaceshipkat (really, really incredible reading experience. something that actually touches other aspects of my life, even now. I see planes overhead and I think about this fic. I see letters on a table and I think about this fic. just. this author GETS IT, you know? just absolutely nails every aspect of this kind of fic: post-war adjustment, the pain, the LOVE. this fic will make you FEEL it. let it happen.)

Up In Our Bedroom by @steeseman (ICONIC. really one of those pillars of the community type fics, y'know? it's funny and it's sweet and it's painful and the hot parts are HOT. clearly written with SO much care, and SO much love, and SO much precision. every single word packs a punch. absolutely one of my top reads of all time, across time, across fandoms)

When the bones are good by @aramblingjay (a really incredible post-war fic, such a beautiful, rich writing style!! isn't afraid to dig at the hard parts - john's relationship with alcohol, their nightmares from the war. stunning visuals -- the author uses setting and place and motion in such a tangible, real way. I can still see the little hideout spot in my mind's eye, even now. one of those fics that's just. such a treasure to the fandom.)

your dreams, whatever they be by @drylite (this one is super new, and it's just SUCH solid writing!)

You're A Dog (I'm Your Man) by @johnslittlespoon (one of those fics that's a pillar of the fandom for SURE!!! definitely a classic)

#mota fic #clegan #john egan #gale cleven #I LOVE U ALL SO MUCH #you're all so talented and creative!!!!!!#post

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candy-heart-brew · 8 months ago

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I've seen some fans theorize that the lyrics to "Bug-a-Bye and Goodnight" tie into Frank's developing relationship with Eddie, potentially foreshadowing a grisly end for a favorite mailman. The lyrics are incredibly emotional and poor Frank sounds like he's fighting back tears during this entire record, making it feel like there's something more going on under the surface. While it's entirely possible that this is meant to foreshadow Frank and Eddie eventually being separated, I think the song's symbolism could be pointing to a different direction...

I touched a bit on this in a different post but to summarize: the attitude that Frank displays during "Bug-a-Bye and Goodnight" is completely at odds to his reaction to Eddie at the party. During BaBaG he's sad but resigned to fate, he knows that hibernation is inevitable but takes a bit of comfort in the knowledge that it's only temporary and that his loneliness will only last through winter. So, he does his best to power through, keep his personal feelings out of it, and assure his little friends that he'll be alright.

By contrast, his reaction to Eddie's behavior at the party is one of panic and confusion. He doesn't understand what's happening to Eddie or why he's suddenly gone unresponsive, he just knows that he isn't acting like himself at all and he can't accept that. He refuses to leave Eddie alone even after being ignored, continuing to push until he gets a response, at which point he immediately realizes something is wrong and tries to push further, only stopping when Eddie leaves. At this point in the story they don't appear to be especially close but Frank's terrified reaction speaks volumes about his true feelings for Eddie. And if this is how he reacts to him being quieter than usual, I can't imagine that he'd be much calmer or more composed in the event of losing Eddie altogether. IMO, he's far more likely to get angry and demand answers rather than wax poetic. So while "Bug-a-Bye and Goodnight" could potentially foreshadow Eddie's fate, Frank's subdued reaction makes me question that interpretation. I do think there's a deeper meaning to BaBaG, that Frank is singing about something other than bugs, just not Eddie. But then who? Well, as we found out in this last update, bugs are not the only creatures in the neighborhood that hibernate...

Think about it for a moment- Julie is going to be gone for months, leaving Frank all alone without his best friend. Who's going to invite him to games now? Who's going to listen to him about his interests and laugh at his jokes? Who's going to bake gelatin monstrosities with him? Julie is practically his other half so to lose her for months on end must be very difficult for him! He knows that she can't help it and he doesn't blame her but that hardly makes it any easier. All he can really do now is just push that sadness down, wish her goodnight, and wait for her to return.

Under this interpretation, certain lyrics in BaBaG take on a different meaning to me. Lines like "I know it's for the best, I can't keep you," or "I'll be the first to tell you, you just can't stay," could imply an oncoming rift between the two of them. The recent updates have implied that Frank and Julie were written to be a couple and were perceived as such in-universe. We don't yet know how the two of them felt about that but we do know that they were very close to the point of doing basically everything together! But now Frank is falling in love with someone else, someone who may very well come to eclipse Julie in terms of importance to him. No matter how much he loves her, no matter how much they might want to stay together, there are some things you just can't fight and this play-relationship they have can't last forever...

But that's just my interpretation!

#welcome home #frank frankly #eddie dear #franklydear #julie joyful #analysis #don't mind me just desperately clinging onto hope that the gays will live!

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dnpbeats · 10 months ago

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does it make anyone else lowkey rly sad sometimes to think about early dan and phil and the fact that they had no idea what was coming. like dan tweeting about cherry lube and uma thurman and waxing poetic on dailybooth about being in love. and phil commenting stop being so damn pretty and tweeting about starbucks adventures and speeding up time. neither of them worrying about where their hands were placed in the background of some random person's vlog. because yeah, maybe they disregarded the "plausible" part of plausible deniability. but how could they have known? why would an 18 year old in love, with 1200 followers, have any reason to think twice before making a joke about having sex in front of a poster? why would a 22 year old in love, with a tad bit more followers and a tad bit less dedication to staying in the closet, not post about wanting to see his more-than-best friend?

and, later on, the fact that silly tweets and posts that should have been nothing but cute mementos from the beginning of a relationship turned into things that were desperately walked back and written off and turned into jokes. because who would have had the foreknowledge that the internet would become a graveyard of everything you’ve ever said and every interaction you’ve ever had? sweet things were turned sour in the distress of trying to maintain a level of privacy and separation. but did they not have that right? to cling to what plausible deniability they had left? to come out on their own terms, even though the closet door was already cracked open in a way that made it impossible to fully shut?

and honestly. it's such testament to them and their relationship and its strength that they made it through. that they were still able to do things on their own terms as much as possible. that now they can make the jokes and the references that they want to make without having to worry about what someone is going to dig up or what half-second clip is going to be over-analyzed to death. and they deserve to be in that place. they deserve to be happy

#this is something that I do not think I fully comprehended the weight of at 14 #espc the fact that they were so young #like the fact that im the same age that dan was in 2012 is batshit!! bc I couldn't imagine dealing with all the shit he was dealing with!#dan and phil #d&p #wordvom.txt

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sigmalaussene · 9 months ago

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Top ten weird ways Oswald Cobbepot gets called in Gotham

As I was rewatching Gotham, I decided to write down every name that people in the show canonically call Oswald Cobblepot aka the Penguin. It was a wild ride. Please enjoy

10. "Funny looking fellow"

(season one)

We start with a simple one. This isn't even an insult, it's just a fact. He is, indeed, a funny looking fellow. I'm pretty sure they say it more than once too.

9. "The Dapper Gangland Kingpin"

(season two)

This one it's just silly, especially since it was written on a newspaper. Just... that's weird ? Idk it's silly it makes me chuckle

8. "Yellow rat snitch"

(season one)

We start getting a little weirder. Why a rat? And, more importantly, why yellow???

7. "Stupid lame birdbrain"

(season four)

Just so mean. Especially since this scene it's his dumb husband making a room full of people chant it

6. "Golden goose"

(season one)

Right back to season one and it's incredible dialogue. This one is particularly amazing thanks to Oswald's reply to it, which was, of course: "Honk honk". I can't even start to describe that scene. It's a classic.

5. "Beaky nosed freak"

(season five)

Definitely the best nickname the last season had to offer. Like, you know that moment when a guy kills your bestfriend/girlfriend and you call him the silliest name you can think of? This is one of those times.

4. "Scaley faced bitch"

(season one)

This is the first one in the show, directly from the first episode. I am a firm supporter of calling men bitches when they deserve it, and he did, so I wholeheartedly approve this message. Adding the scaley face part just makes it more poetic.

3. "Sad little breadhead"

(season two)

This one from never fails. Imagine it delivered with the most condicending tone in the world. Just amazing. Makes me laugh every time.

2. "Fruitcake leprechaun"

(season two)

This. This is the one that started it all. It was thinking about this one that I decided that this rewatch I was gonna write down all the nicknames. I dont know if it has something to do with english not being my first language, so I don't have the background of the word "fruitcake" used as an homophobic remark, but this name is one of the funniest things I have ever heard in my life.

1. "Limping little chickenbutt second banana"

(season one)

This couldn't not be on the first place. I am obsessed with the writers of this show, i want to get inside their brains. Because like what does it mean? How did they come up with this? I need to know every thought that crossed their mind for them to write this. This is art. This is poetry. Incredible. Amazing. Absolutely insane. Kudos to the actor who played Maroni because if they gave me that line I wouldn't be able to say it with a straight face.

Bonus:

(For the fans, he is also called "the only thing Nygma cares about". Just... you know, in case you forgot)

Some recurrent nicknames are: "Pengy", "Ozzie", "freak", "cockroach", "punk", bird related names (bird/birdman, feathered friend, chicken, turkey...) and "little"/"tiny" followed by almost anything (man, friend, dirtbag, bastard, creep, twerp, freak, weasel...)

Edit: i realize i didn't mention "Major Crumblepot" and that's on me sorry guys

His haircut is described as "disco vampire hair" at one point (another classic)

He is also called "specimen", which is really funny, and "dewdropper"?? for some reason I don't remember but it was in my notes and I couldn't ignore it lmao

#ofc “penguin” is implied #i finished my latest rewatch!!! ajsnakak i love this little silly guy so much AND i made my brother love him too YAY #gotham oswald #oswald copplepot #ed nygma #nygmobblepot #gotham #riddlebird #gotham fox #show #tv show #top ten #top ten weird ways oswald cobblepot gets called #gotham fandom #scaley faced bitch <3 #fandom meme #gotham meme

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arty-holly · 1 month ago

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I caught up with the bllk manga and it is a 5 course meal with the way it is serving rn.

Rin's moment came and it is mind blowingly perfect. I could’nt ask for more and there are so many delicious details it's terrific.

The title of this chapter is very interesting to me for reasons. Because Rin as a character is shown to be connected with death and suicide. Infact his 1st character defining line is " Soccer is a battle to the death". Later we find the seed of this thinking in little Rin. He's a weirdo who flings himself at pigeons at toy blocks and a completely opposite mentality to the other kids. The ultimate monster who fights someone stronger, gives his all, and then dies is incredibly cool to him. He hopes to be someone like him in the future . So is it really coincidence if the title of his chapter has a clever wordplay with a famous author who was also suicidal and who wrote a book called " No longer human"?

Now Dazai Osamu was an remarkable author and coincidentally (those who watched Bsd will know) he strived to do double suicides with the women he was in love with. So is it really coincidence that the words that comes out of Isagi’s mouth are " I'll die with you!"? Are you all seeing the romantic connotations here guys?👀

Moving on, just the general remarkable-ness of these recent chapters is blowing my mind.

To see Isagi, the master adapter, arguably the best person in Blue lock who can analyze others to perfection floundering at the anomaly that is Itoshi Rin is so great. This is the first and only time Isagi has been unable to decipher the thought process of another person to this extent. It's gonna make the time when he does get through Rin so much more satisfying. 💚

And its too sad that Rin is so chained in by his feelings that he can't kick a goal his teammates would kill to have because of his own mind( bro needs a therapist fr). It's so baffling to others watching from the outside, but to Rin, it makes perfect sense. It's the way he's almost begging for someone to come, someone to break in and-

The image of Isagi literally swiping away Sae’s phantom, almost reassuring him that he's here, he's real is too beautiful. When Rin is about to lose everything, Isagi is the one who is there. I'm pretty sure Loki would've benched Rin if he threw away a goal again, so Isagi is the reason Rin is still playing in this match. Just the visual framing in this panel is too good.

Do I need to say more?

The way Isagi's eyes look so bright as if he's giving hope to Rin. Rin's EXPRESSION 😭(All we need are some flower petals)

Tell me this isn't poetic beauty, come in my face and tell me this isn't the epitome of romance.

Regardless if it is romantic or platonic, I still adore the way they're written into each other’s arcs. I wasn't the one to notice this, but if Isagi had collided into Rin and Rin had not scored, Isagi would've been red-carded instead of being let off with a yellow card. ( His head was definitely not all there in this moment)Isagi Yoichi, thank your stars your lover is a genius , bro would've been cooked otherwise.

And at the end,

We see the old Rin again, finally enjoying the game he worked his entire life for. (Off topic, but he looks so cute and gorgeous here) and the catalyst for that is none other than our protagonist.

Isagi is the light that brings hope to Rin and Rin is the centre, the ideal for Isagi’s growth. They saved each other.

All of NEL hasn't been exactly amazing but Kaneshiro's writing peaked in these chapters. There is so much said in every panel, so much emotion expressed in each drawing, It's incredible.

#these losers made me write my 1st fic and a post like this #no but srsly Rin has never looked so gorgeous before and the blood dripping down just ties it up together #Rinsagi #Isagi Yoichi #Itoshi Rin #Blue lock #my post

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bambipool · 16 days ago

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im literally sobbing rn

i was reading a spideypool fanfic for like one month (im a student and don't have time) and it was the most beautiful poetic angelic fanfic that i have ever seen. i got so obsessed with this fanfic that i started listening to music and thinking about them, constantly thinking abt this fic.

suddenly i have a week without college (thk god) and i was reading this fanfic all day, and when it comes to the end of the third season i see that i hasn't been uploaded since 2022. i am so sad. really sad. that fanfic has made me feel things that i never felt.

i don't think i will ever read something so beautiful and perfectly written after that. i just can't stop crying because it literally changed me.

if the author ever reads this:

you have the best writing in the whole world. i hope you know that your fanfiction is the best !! we will always be here waiting for your return, but if you dont return, its okay either :)) It was already a gift to have found your fanfic and read the three parts you posted.

(also sorry for the bad english, im brazilian)

the fanfic: https://archiveofourown.org/series/1105842

#spideypool #marvel #fanfic #gay

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gretahayes · 2 years ago

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Favourite tim drake recs? :0

Assuming you mean fanfic recs, I've got probably the most for him and this is long, so it's going under the cut;

This is genuinely one of my favorites, it's set post-Red Robin, and deals with Tim's vigilante stalking habits, his family finding out, Cass realizing there's no photos of Tim, them setting out to take/find some of him (a much harder feat than you'd think) and finally, Tim seeing the photos. It's amazing and sweet, and I can't recommend it enough. (I especially like the Bruce & Tim and Tim & Damian in this)

This is by the same author, also set post-Red Robin. This is Damian and Tim focused, Damian POV, in which Damian sees Bruce's contingency plans for him and the rest of the family, and with nobody else to turn to, runs for Tim. Canon divergent in the way Bruce doesn't have a contingency for his children, neither does Tim for his team, or them for him, but it kinda makes sense in this setting. Their interactions are amazing here, and seems so real.

In this, Tim gets a tonsillectomy. An elaboration in the form of a long fic. A must-read, I feel. It's funny and has so many feels and such good characterization.

!!! Can't believe I almost forgot about this one! Tim is Bruce's assistant, not son, and never became a vigilante. He's incredibly overworked, but no less dedicated to the Waynes. It's heartwrenching and sweet and funny and—words can't do it justice. It's a must read. The Al Ghuls make a cameo but Tim knows how to deal with them. Tim's deeply sad but next to nobody knows and those that do just accept it (including him). Kon is the MVP. Cass. Damian and Tim have an odd bond built of mutual respect and disdain for everyone around them. Luthor tries to recruit Tim every year and fails.

This is funny and amazing—Tim lands in a universe where he's technically considered a drug addict, since coffee is a drug and in the regular universe everyone drinks it.

The YJ fic Ever. I've recced this at least three times, and I will continue to. It's amazing characterization all around—both YJ and batfam—and genuinely is so fun. I love everyone in this. When an unknown enemy threatens Robin, Gotham's vigilantes come together to keep him safe. Unfortunately, they're protecting the wrong Robin. Or: Tim Drake plans his own rescue. Things get complicated.

This is Tim & Damian—Tim gets his overprotective big brother moment :) love love LOVE the way everyone is written here.

This is short and hilarious—Tim has amnesia after a head wound (can only remember back to his YJ days) and tries to bullshit his way out of anyone noticing. He might have succeeded if not for Cass.

This is a time loop fic, switching POVs. Tim's stuck in a time loop in which Jason always dies. The loop before the one this was set in, he accidentally kills Damian out of stress and too-fast reflexes. He breaks down when he sees Damian again, the whole thing unravels, and they resolve to help him out of it.

THIS SERIES MAKES ME FERAL. Jack, Tim and sometimes Dana, set when Jack made Tim quit from Robin. Horror-type elements and beautifully poetic, but centered around Jack's POV of the son he realizes he doesn't know, and him realizing he may be a shit dad. Dana's the best stepmom ever, and Tim's far nicer to her than he is Jack. This is the first work, in which Jack tries and fails to understand this Tim, and realizes that this Tim is Robin, not Tim. This is the second (and last) work in the series, in which Tim hasn't fully quit the lifestyle even though he's not going out as Robin, but Jack has no proof he hasn't. Just a hunch and a few odd occurrences that us, the readers, who are familiar with Tim's hero life will find obvious, but Jack does not. Dana makes Tim happier, more Tim than Tim-Robin, than Jack does, and Jack hates it. Near the end, he starts calling Tim Robin, not Tim. I LOVE it. Even if you hate Jack (like I do) you need to read this, for the Tim characterization if nothing else. Outsider POV, except he shouldn't be an outsider. But he is.

This is so fucking funny. Tim gets a matching tattoo with Kon, and hides it from Bruce. When Bruce—and the rest of his family—find out, all goes to hell.

Remember when I said the Jack and Tim series was only slightly horror? This is horror. Bruce's got a habit of picking up monsters, and this one is about Tim. If you're sensitive to horror, please read the tags and maybe avoid it, because this is delightful but not for everyone.

In this, Tim becomes an unintentional sugar daddy to the caped community. It's a bit iffy in some places, but hilarious.

This is Dick and Tim (surprised it took me this long to rec one with them as the main focus tbh) and it's Dick checking up on his little brother. Pure fluff, and genuinely amazing.

This is Tim & Bruce but also Tim & Tam in some places. Bruce forgets Tim is the majority shareholder for WE and is thus invited to shareholder meetings, Tim finds this very amusing and is generally a menace. You can FEEL the teenager in this Tim. Amazing.

Tim's de-aged to a kid in this, and re-meets his family. Fluff and feels ensue.

This is Bruce and Tim. Bruce isn't prepared for his newest Robin's neuroses.

This has Tim & Cassie meeting at an archaeologist event as kids and having to fight a monster thing :) it's cute

GODDD this fic? This fic ruined me. Beautiful Tim characterization, a gorgeous look at Bruce and how much he fucks up despite caring, and Dick being a stressed but amazing big brother with gorgeous writing. I love their brotherly affections here, and Tim's weird neuroses being shown here. Tim & Bruce is how it starts, and it's very much centered around their relationship, but it tapers off into Dick & Tim, which I'm not complaining about. Kon (and Bart!) makes a cameo and is an amazing friend. Can't rec this enough. If you read none of the other fics, please read this one.

This is Dick and Tim again. Dick forces Tim to go undercover with him to an Elvis convention in a thinly veiled attempt to spend time with the brother who he doesn't think knows how much he loves him. It's set in Tim's POV, though, so until Dick says this, Tim doesn't know. Hilarious and short.

This is Dick and Tim (who's surprised? Nobody) where Dick goes to Robin!Tim's science fair because Tim mentioned it and well, nobody else was going. Short and sweet.

This deals with the batfam finding out about the shitshow that was Tim's BruceQuest. If you're a stickler for canon I'd recommend you skip this one, but if not, it's a great read.

This is Dick and Tim again, and it's amazing. Tim's alone on Christmas Eve. Dick finds out, and does something about it. It's Robin!Tim, so this is Dick, Babs and Tim. This author is amazing at writing their interactions, plus inside Dick's head is a tricky place to write and they nail it perfectly. Mostly Dick & Tim, but since he invites Tim to Babs' holiday party, Babs makes a good number of cameos.

This is Tim talking a jumper off the ledge while Damian watches. Then they talk about it. Tim from Damian's POV is always interesting, but this especially is amazing.

This is a core four fic, Tim's POV! Pure humor. Tim finds a dildo in the dishwasher and he drags them for a team meeting so he can sus out whose it is.

I've recced this before, I think, but I'll do it again. Red Robin canon divergence fic in which Bruce is actually dead, and Tim calls Dick to tell him he thinks he may have been wrong. Dick's POV, short, but the emotion in this is outstanding.

In this fic, Damian has trouble with the transition from Dick's Batman to Bruce's Batman. Tim, who's also had both, is surprisingly helpful. This has so many Tim and Damian feels that I'm literally bursting at the seams. Melancholy, camaraderie, and all the good stuff. Damian's POV, and since he sucks at so much as guessing at what's going on in Tim's head, it's all the more great.

This is Dick and Tim, a soft Christmastime fic.

This is Bruce and Tim. Bruce and Tim have a sort-of game that started when Tim was thirteen. Initially, it was Tim stealing sips (or occasionally whole mugs) of Bruce’s coffee, back when he was too young for Alfred to allow him to drink it. Now, though, Bruce is getting his own back, and steals Tim’s coffee when he can. Sweet and fluffy.

Here, Tim gets a headwound and only remembers back to his Robin days, and forgets to be awkward around Dick and Damian. Tugs at the heartstrings. Dick's reminded of how much he misses this Tim.

This is really funny. Remember that time during the YJ days where the adult heroes were de-aged and the kid ones grew to be adults? Tim didn't reach six foot. In this, he's mocked ruthlessly for it.

Here, Tim goes to high school again after dropping out :) it's core four and hilarious

In this, Tim accidentally kills his dad in self defense—or rather, thinks he does, Jack's still alive but he doesn't know that until Dick shows up—and scrambles to call Dick. He calls Jason instead. Dick eventually gets called and shows up, and the brotherly feels in this are amazing. Tim's in shock for a good portion of it, and it's his POV, so you've got to piece some stuff together. Bad dad Jack, as in worse than canon bad dad Jack. Tugs on the heartstrings, and have I said I love Dick in this? Because I do. Bruce shows up near the end, and to everyone's surprise, doesn't absolutely fuck things up and/or fail as a parent.

Here, Tim is sick and alone. Dick, after not hearing from Tim at all for three days, goes to his apartment, finds him sick, and takes care of him. Eventually he gets dragged to the Manor for some actual r&r. It's sweet, and this writer has an amazing way with words and an intriguing flow.

In this, Bruce knows Tim. They have a routine, have habits, they know each other. This is so so touching, and I love it so much.

Here, Tim and Steph give Bruce a headache. It's amazing.

I..can't even begin to describe this. Bruce is fresh from the timeline, and this is a sort of introspection/character study type thing about him and Tim and how Tim's changed. Mostly, though? Mostly, Bruce just gives his son a hug.

Here, Kon is Tim's work husband. Bruce suffers. Pure fluff and humor, with a touch of feels.

Here, Bruce takes Tim to get his wisdom teeth out. They're both worried, but together, they're alright. Tim cries while doped up on the drugs. He cries a lot.

Here, 90's!Tim Drake wakes up in his Red Robin body. Exhausted from a YJ mission, he chooses to focus on getting through a normal day so as not to disrupt things for his future self. But, y'know, his way. Hilarious and so in-character, if exaggerated for comedy.

This is Tim and Damian—Damian gets hit with truth serum on patrol, and a pissed off Tim has to come and get him. Damian resolves to not tell Tim he's been hit with truth serum. They get closer as a result. Love their dynamic in this.

This is core four again, but just general teenager superhero chaos. Can't rec it enough

Here, Tim tries to build a LEGO Gotham, but his family just can't leave it—or him—alone. He calls a family meeting to tell them to knock it off, and they do not. Fluff and humor.

Here, Tim has appendicitis and gets his appendix removed. The best mix of fluff, feels, and good old complicated family dynamics ever

In this, Bruce tries to navigate giving affection to his odd son, Tim. Touching and funny.

This is Tim and Damian—Damian crashes on Tim's bed in the Watchtower when injured, Tim finds him. They talk, and maybe bond a bit, even though they'd never admit it.

Here, Bruce hugs Tim. Really nothing else to it.

Another fic where Tim wakes up with amnesia and pretends to know his family so he's not rude. He's found out when he correctly deduces Bruce is his dad, but makes the mistake of calling Bruce dad.

This is Dick and Tim again. Tim gets de-aged into a six-month-old, and Dick takes care of him. Soft and so so sweet.

In this, Tim's trying to work in his apartment when his siblings keep showing up to distract him and get him to take a break. It's sweet of them, if very annoying.

This is Bruce and Tim. Tim's injured and lying in bed, Bruce gets him takeout. Feels fuzzy and just...good. You've got to read it to know what I'm talking about, no summary does it justice.

Here, Damian tries to make amends with Tim. He does it very oddly though, so Tim thinks he has a crush on him, and avoids him all the more for it because ew-gross-ew-ew.

In this, Tim gets his teeth knocked out and grabs Dick as a mediator so he tells Bruce. Short and funny-sweet. You can tell this is in Tim's Robin run, due to all the little hints dropped.

This is Tim and Kon, funny and nonsensical. Tim calls Kon in the early hours of the morning, drunk. Kon thinks he deserves sainthood for this.

In this, Tim has road rage and most of his family find that out in the most hilarious way possible.

Bruce and Tim—a test sort of fic? Interesting, definitely.

This is timkon, Tim has memory loss and is amazed by Kon all over again.

Core four go to a gala :)

This is Dick and Tim, Tim breaks into Dick's house, accidentally interrupts his nap, tries to leave out of guilt, and gets wrangled into hugs. So so soft and so so sweet.

Another de-aged Tim fic, but this time with six year old Tim and Bruce taking care of him. This is so melancholy and...ugh. I love them.

Here, Tim and Dick are thrown into an alternate universe and have to try and get back with no other support system and no way out. They meet this world's version of Bruce and Alfred, though.

CEO Tim, and hates it. He makes that Luthor's problem.

Timkon, in which Tim plans all his dates VIA corkboard and Kon is so attracted to that.

CEO Tim (again), except he's still a teenager and people end up thinking he's a communist. This is short and hilarious all the way through. Also, Bruce is there.

This is The kid!Tim fic ever. Tim, having found a weird hole after a storm, decides to go exploring ignoring the fact that This Is Gotham and They Probably Have Cursed Stuff Down There.Luckily, it was just a cave system that spans the entire Gotham underground. Unluckily, Tim is a very curious child. Tim's a sorta eldritch being at the end?? Amazing, 100 would recommend.

In this, Tim finds out he isn't his parents' biological son. This changes everything. This changes nothing. Can't say anything else without spoiling, but I can't rec it enough.

In this fic, Bruce is back in time in Drake Manor, and meets baby Tim. It's like you're frozen in time, and all that matters is Bruce and his infant not-yet-son.

Here, Kon and Tim date. Tim's a cryptid stalker that refuses to be photographed, Dick is a big brother that loves his little brother, and it's cute.

Sorry it took me so long to compile this list anon, happy reading!

#asks #anon #tim drake #fic rec #god this is. a lot #took me a while to compile

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