#gotham: the shithole

[theultimatewritress]

please, don't leave.

warnings: angst, a bit ooc, use of petnames/nicknames

The Batman is known for being hard, cold, hiding in every shadow of Gotham. No one would ever think that he has true feelings. He hardly speaks to anyone, and when he does, it's usually less than a sentence.

But he does. He has feelings. And the downside to masking them all the time, is that they all hit him all at once. There was no one there to comfort him, understand what he was going through. No one he could confide in and trust. Until you.

It's hard for you to believe that you are dating THE Bruce Wayne. The Prince of Gotham, and during the night, The Batman, the Dark Knight.

You first met when he was fighting a very dangerous gang. The Scagnozzi, Italian for henchmen. They supposedly worked for Carmine Falcone, and that's why Bruce wants them gone. The Scagnozzi are a reminder of the man who had his father killed. While he was fighting this gang, they had managed to overpower him. He was still able to land some punches here and there, but for the most part, he was getting beat the fuck up.

You happened to be walking back from your small corporate job, as your office was close by, and saw the scene unfolding right in front of you. You couldn't do much, you weren't trained in combat, but you did have on some especially sharp heels. You took one off and threw it at one of the gang members and soon enough, they all turned around to face you. This gave the Batman enough time to take out the strongest members. One especially buff member started walking towards you, and you took out your taser confidently and tased him right in the neck. You just watched as his body fell to the ground. The Bat stared at you before giving you a grateful nod and vanishing.

Eventually, you started meeting up with Bruce, and things just went from there. You found out quickly about him being Batman, the hair, jawline, and eyes, were unmistakable. You quit your job so you could live with Bruce in the Wayne Manor. Life was interesting. Not bad, but not always good. For example, his double life as the billionaire philanthropist during the day, and The Batman during the night definitely created road bumps in your relationship, but they were usually solved.

However, today the problem was much deeper than how late- or early- Bruce gets back in the morning.

You walk out of the elevator to the living room of the main floor. You don't see him, which doesn't usually doesn't worry you. But he was supposed to be back two hours ago.

You decide on just taking the stairs to your shared bedroom, floors above the living room. You can sense his presence behind the door, but you don't hear any movement.

Odd.

You open the door and see Bruce, on his knees with his head laying in his hands. His shoulders shake, and he's breathing quite heavy. You already know what's happening: he's having an anxiety attack.

"Oh, Bruce," you run over to where he's kneeling and run your hands through his hair. He immediately wraps his hands around your waist, laying his head on your stomach. His tears soak through your thin shirt as he sobs into it.

You fall down to your knees, same as him, and wrap your arms around his shoulders. He buries his head in the curve of your neck and shoulder, reciprocating the embrace, throwing his arms tightly around your waist and pulling you in closer.

"It's okay, you're okay, I'm here," you soothe, rubbing your hand up and down the rippled muscles of his back. You both just sit in silence, with only the background noise of Gotham's frequently torrential downpour. It takes a while for either of you to speak, but he does it first.

"I- I could've saved them," he stutters, holding back his tears with a shudder, "I could've saved my mom, and my dad."

Bruce knows he couldn't have saved his parents, like you have told him countless times whenever he doubts himself. But after some particularly hard nights, he wonders why he couldn't save his parents when he so easily keeps the entirety of Gotham safe every night. The idea infests his mind so quickly that he barely has time to reassure himself before he's caught in the snares of self-doubt.

"Bruce, you and I both know you couldn't have done anything to change their fate. You were only a child. You barely knew the true nature of the world you lived in. So don't you ever blame it on yourself, because it wasn't your fault. It never was, and never will be," you console, still rubbing your hand up and down his back slowly.

"B-but-"

"No. No buts. You know I'm right, Bruce."

He doesn't respond, but you know that he shook the idea from his mind as soon as you started speaking. You had- and still do have- that effect on him. He would always listen to you, even if you told him to stop crusading the city with a cape, stop being Batman. He knows you wouldn't ask him to do that, though. You know how much he's doing for Gotham, and you know how much protecting the city means to him. You would never ask him to stop. But if you ever did, he would do it without hesitation.

You start to pull back in order to grab his face and wipe his tears, but he only pulls himself closer to you, his face now buried in your chest.

"Just a bit longer. Please," he breathes out. His hands fist in the hem of your shirt, trying to find something to anchor himself with.

"Ok, baby. However long you need," you speak softly, bringing your hand up to caress the back of his neck, occasionally raking your hands through his hair, pulling a shaky sigh from him. He loves it when you do that.

After maybe 30 minutes, a muffled yawn against your chest draws your attention back to Bruce's tired body. It's evident he's worn out after a long night of relentlessly beating criminals, the recent breakdown only adding to his exhaustion.

"Alright, up we go Brucie," you encourage, pulling yourself up. He quickly follows, wanting to be as close to you as possible. You interlock your hand with his and lead the both of you to the bathroom connected to your shared room. As you turn the light on, you can see the smeared black eyeliner. It runs consistently with the tears still rolling down his face.

"Sit here, sweetheart," you murmured, patting the counter with the hand that isn't encased in his. He walks over to the counter with his head facing the ground, trying not to make eye contact. You reach your hand up and stroke his cheek, tilting his face up and towards your own. You tenderly place a kiss on the side of his mouth before walking down the hall. You reach the medical room, where Alfred tends to Bruce when he's very seriously hurt. You shuffle through the cabinet closest to the door, looking for the supplies to soothe the aches and injuries gifted to Bruce during his patrols as the caped crusader. After finding what you need, you return back to your bathroom and begin to patch him up. There isn't anything major, aside from the usual small cuts and bruises, so you just clean the cuts with peroxide and smooth some arnica montana salve -that your friend Pamela gifted you not too long ago- over his skin, mottled with bruises and scars.

When you're done, he gives you a quiet thanks, just like every night, and allows you to pull him to bed. Some days, he'll go just a day without sleep, but others, he will go over 72 hours- 3 days- without sleep, and it obviously isn't easy to do. But for Bruce, if even 365 days was the price to save Gotham City, there's no doubt that he would pay it.

He goes out every night, not only because he wants vengeance. He frequently hides his true intentions behind the curtain of anger and revenge, but he does truly want to help Gotham, even if it means beating the shit out of criminals in the slummy depths of Gotham alleys.

You both immediately slide under the comforter of the bed and relish the smooth feel of the silky sheets on your cold skin- or in Bruce's case, his almost feverish skin. You maneuver your bodies so that you are laying on your back, and Bruce's body is on top of yours- minus his legs, which are tangled with yours anyway.

Sleep quickly latches onto both of your minds, but before you can fully drift off, you hear something. You look down as you realize that Bruce is sleep talking.

"Don't... no- please, don't leave," he murmurs, his voice laced with sleep as he grips onto you tighter.

You only grimace at the bittersweet phrase before laying your head down and letting sleep envelop your mind.

[dw-flagler]

In this post, I will attempt to calmly, reasonably, and in-a-good-faith-manner argue all the points raised by tumblr user @library-bat-girl in the following posts. I am starting a new thread so as not to further destroy the original poster, @skitterenjoyer's, tumblr notifications. Worm (+MHA) spoilers ahead. This will be a long post.

Firstly, I would like to apologize on the worm fandom's behalf. We will not engage in ableism of any kind. I sincerely hope that this was a singular incident and @skittersdrippygirlcock will be better about this in the future.

"MHA has better characters,"

My Hero Academia's primary achievement, I think, is managing to make many decently well rounded characters in a fairly short time-span. It certainly has very good visual character design, with easily memorable character designs, like Mina Ashido or Tsuyu Asui. Most of Class 1A is shown to be more than single-note gimmick characters. For a story with such a tight schedule, and only so much page real-estate, that's impressive! For instance, a character decidedly outside of the main cast, Fumikage Tokoyami, is shown to have more to his personality than "is an edgelord," showing a humility and friendliness that is highly against-type. This is very different than a lot of its peers, especially in Shonen manga, where side characters (and sometimes even main characters) are never more than their tropes (see Fairy Tale, One Punch Man*, The Seven Deadly Sins, or Black Clover). My Hero Academia does clear that bar, by making side characters little more than their tropes. This is to say nothing of the primary cast, who, again, is largely defined by tropes and easily slotted into standardized interchangeable Shonen roles. Rival, Love Interest, Rival but Nice About It. Additionally, MHA has an uncomfortably sexualized main cast, for one composed primarily of minors.

This is compared to Worm, in which many characters are fully realized and could have been the protagonist (and often were in older drafts of the story, due to Worm's 10-year development hell). Every character that gets an interlude, and most that don't, all have fully realized interiority, traumas, and wants. In fact, this is one of the major themes of Worm. Every character, from the protagonist Taylor, to characters so minor they're seen only once (see Damsel of Distress, Dauntless), to major antagonists and monsters (see Jack Slash, Bonesaw) all have their own story, even if this is never shown on-screen. There are no "side characters" in the same manner as in My Hero Academia, because every character is a protagonist of their own story, and not in a trite "life is so beautiful" way.

Taylor isn't the center of the universe, there's an entire world outside of her 3-block bubble. The mechanism by which all characters get their superpowers means that the mere fact of having powers implies this about them. Even the seeming exceptions, aren't (see Alexandria, Garotte). Taylor is a good character. I don't even know how to elaborate on that. She just is. Worm does not have the character Minoru Mineta.

"a better plot,"

What... what is the plot of My Hero Academia? For the life of me, I can't seem to recall. I can tell you the general formula of most of the arcs for the first ~2/3rds of the story. Class 1A goes to do a hero high school thing, like do rescue training, or on-the-job training, or on-the-job-training, or on-the-job-training (they do it like 4 times for some reason), the League Of Villains shows up (even when it's seemingly not the league of villains it actually is the league of villains) they fight about it, the class beats all the villains, and Deku beats up strongest bad guy and also breaks his bones. Repeat step 1. But like. What's... the plot? The League of Villains is evil and wants to kill people and do bad stuff. They explicitly do not have greater motivations. There's generally themes of passing-on-to-the-new-generation, so there's Tomura Shigaraki as the arch nemesis to Izuku Midoriya, just as All Might's Nemesis is All For One. Eventually they fight a big fight about it and I stop reading because I find out about Worm. From what I understand (I have not read the conclusion) the series ends without addressing any long-running questions, wrapping up any character arcs, or concluding anything in a narratively satisfying manner. As if severely rushed.

Worm, there are maybe 15 main stories going on simultaneously, which are all tied into the final confrontation with Scion. The most obvious is Taylor's and the Undersiders' story, about taking over Brockton Bay and defeating Coil, which is a smaller part of Coil's story about taking over the bay, until their confrontation with him in arc 17, when it supersedes Coil's story, and then intersects with Cauldron's story, the Traveler's story, the Case 53s' stories, the Wards' story, all of it, in arcs 18-19. This is one example. A great deal of attention is spent making sure the reader knows that Taylor, the Undersiders, Coil, all of them, are bit players in a very large game. Despite this, it's never hard to follow, because Wildbow, while lacking some of the more flowery prose, manages extremely well at making his stories easy to understand.

"I feel like even people who like Worm can agree that Worm is not the most consistent piece of fiction ever written. The disjointed way it was written meant that emphasis was primarily put on 'What Wildbow thought was cool in the moment', [sic] and the story RADICALLY shifts gears every time a new arc starts."

What? Huh? Worm is extremely consistent. Like. 1.1 to E.x. It's, like. Not disjointed? Oh my god, are you talking about interludes? Is that what you mean? The interludes shift gears? Because that makes sense. It's one of the hardest things about worm, yeah. It's gripping! The interludes are a great idea to expand the world of worm, but the problem is that taylor's story is so intriguing that stepping away from it to focus on something else is hard, no matter how individually interesting. I want to read about taylor's escalation spiral, not the travelers! (As opposed to My Hero Academia having random escalation and de-escalation between arcs with no real explanation. We're reading about lives-on-the-line battles with child-slavers and then move to playing on a playground with little kids? Best I can think of is that this whiplash is intentional, but this is never communicated to the reader. Worm does not do this. Any de-escalation is met with the explicit understanding that this is merely a period of calm before things get even worse). Taylor's story wraps up in an extremely narratively satisfying fashion, following her story to its logical conclusion. There were so many ways it could have been avoided, but there was really only one way that it could have ended.

"better worldbuilding,"

This actually offends me. MHA could have had great world-building. It doesn't. Every potentially interesting bit of world-building is backpedaled out of or stopped before it could get anywhere. Or it's just never elaborated or expanded upon. Everyone having a superpower could have been cool, but the implications of this are nonexistent. The reasons for this having no real implications, that being the banning of quirks, also has implications that are also immediately backpedaled out of. It's been hundreds of years since our time, yet life is exactly the same. Nothing ever happens. Endeavor is a cool concept. I like Endeavor. his existence implies such interesting things about the world, how important hero ranking is to these people's lives, that he would create this horrific system of domestic abuse to try and get to the #1 spot. What does this say about this system of heroes that operates like a popularity contest? It could have said a lot. It says nothing. What does the League of Villains, a league of people who call themselves out-and-out villains, who base their ideology in opposing this system of heroes, say about society? Nothing. On purpose. Worm does something with this. One Punch Man does something with this. My Hero Academia puts it in the story, and lets it sit, unused, for a decade.

Worm has... unique world-building. Because it's both good and bad at the same time. Worm's #1 feature is its world. It's brilliant, full stop. Triggers, The Birdcage, the PRT, Exclusion Zones! Why does the status quo exist? what does it say about that society? What does it say about our society? Why hasn't society radically changed from how it is in our world? This is explained. This plays into the themes. The story wants to say something about this world, and so it does. There are characters whose stories explicitly delve into these themes that are set up in the worldbuilding, like Armsmaster, or Battery, or Bonesaw, or Coil, or Piggot or Alexandria or Taylor herself or Brian or Lisa or ANY OF THEM THEY ALL DO THIS. Sorry.

Anyway, the bad part is that the actual world is not well built (and is kind of racist). What's going on in Europe? There's a 3 blasphemies! a 3 what? never explained. What's going on in Asia, aside from Japan? China is a monarchy for some reason. Why? It's never elaborated on. India gets a little bit of elaboration, we're told its different but not how it's different. Wildbow uses machine translation wrong and names some guy caliph of dogs. This is like worm's #2 problem honestly (#1 is Amy). Wildbow tries to make the implication of a well thought out globe without actually making a well thought out globe.

"stronger themes,"

It really doesn't. As I said in the worldbuilding section, MHA makes a point out of not saying or doing anything. I don't know if editors made Horikoshi walk back the more ambitious story beats or what, but there are multiple points in the story where the author pretty much looks you directly in the eye and goes "This Story Isn't Saying Anything At All Even Though It Looked Like It Would. Lmao."

Worm has lots of themes. I think Armsmaster/Defiant's story is my favorite. His entire character arc (which is fully realized despite him being a background character for nearly the entire story) has a point to it. It says something. It's misanthropic and uplifting simultaneously, and manages to feel like it earns both. It's a shared theme with Bonesaw/Riley's story, explored in two different ways.

"Meanwhile MHA establishes an actual overall theme/message right from the start that expands and develops throughout the story. The worldbuilding is informed by the message, which informs the characters arcs and the people they become by the end of the story."

I notice that you never actually say what that message is. What is it? Like, for real. I'm not being confrontational or anything, like what is the message? Cuz' I can't think of one. My Hero Academia, at its very core, is a defense of the status quo. Much like its world-building, but much less forgivable, because it does do something new and unique with its world-building. MHA could have done some extremely interesting stuff with its early implicit critique of heroic society as shown with characters like Bakugo, or Shigaraki, or Endeavor, or Overhaul, or Midoriya himself! It just doesn't! It doesn't do stuff that Worm does do!

Worm does have a message. It has a lot of messages, actually, some that the author disagrees with somehow. Prison abolition, for one. We know Wildbow loves prison. Anyway, the big one is in the subtitle: doing the wrong things for the right reasons. Taylor's constant spiral of escalation, her dwindling attachments to her friends and greater focus on treating herself like a soldier is prevalent, and it is to be avoided. Taylor isn't a sin-eater. They don't exist. From what I remember, this is sort of explored in Deku's character arc for a short period of time, but much like everything else in MHA, it is backpedaled out of.

The funniest is "don't text and drive" though.

"Just on a basic level the way that the audience is meant to feel about Taylor oscillates wildly between being directed to think of her as a misunderstood victim of circumstance, or history's greatest monster."

That's kind of the point. Like. the audience isn't meant to look at Taylor the same way throughout the entire story. It's meant to change as she changes. Taylor's opinion of Taylor changes. The mistake here is saying it "oscillates wildly." it doesn't. It's a slow and steady change for the worse, as Taylor gets more violent and starts throwing away greater and greater parts of herself to become more like a robot and less like a person.

"But a bigger issue in general is tone. It's very focused on being dark and gritty and edgy, and it makes the mistake a lot of consciously edgy media does. IE: it thinks that all it has to do to be smart is be bleak and/or graphic. It doesn't really try to say anything, in fact it contradicts itself throughout the book as I mentioned before, it just throws in extremely graphic scenes and content periodically to remind the audience how fucked everything is."

Did you read the boys and think it was worm? What? It's not being smart when it's bleak or graphic? I actually personally like the endbringers or the slaughterhouse 9, and not because I like watching people suffer. These things exist for a reason. It's not being dark for the sake of being dark. The heroes could stop the slaughterhouse 9. We see that, when they almost stop the slaughterhouse 9 (it's explicitly shown that they are stopped from destroying the slaughterhouse 9). The question then becomes why don't they? It's a grim, brutal calculus, and one that wasn't worth it. That's the point. The Endbringers are different. It's not until arc 27 that they're really explained. You could either read them as a criticism of Eidolon or of ableism, honestly. I mean, it wasn't intentional, he didn't create them on purpose, he needed something to fight, because without that he's nothing. His powers are all he has.

"Worm spends so much time trying to be edgy that as with a lot of edgy media the edginess loses all impact quite quickly and becomes sort of cringe."

I don't really think so, but like. Okay. I don't think this is a reconcilable viewpoint (none of this is really but this especially), so like we're probably gonna have to agree to disagree. The only thing I can really think of as edgy for the sake of edginess is Amy's arc. But even that's not really true. It's meant to be an utterly avoidable tragedy that could never have been stopped because of the people involved. Much like Taylor, actually. Amy could have stepped back from the brink, but she didn't, because Amy could never have done that, and nobody else was willing/able to help. It's supposed to be a thing where you sit back and think of all the tiny ways this could have easily been avoided, but wasn't.

"When body horror happens it still has impact because it's not happening constantly."

I mean, I guess. But like. I never got desensitized to the body horror in Worm. It hit pretty consistently for me throughout. As opposed to MHA, where it was usually walked back by the end of every arc. I never felt much tension or suspense because it felt as if there weren't actual consequences. In Worm, when Brian was strung up on his nerves, it felt disgusting because I was fully aware Worm would explore the ripple effects of this. It felt entirely possible he would die there, or never recover, because Worm didn't pull its punches. MHA did. This is a matter of opinion. We'll just have to agree to disagree about it.

"But most importantly - you root for the heroes because the world actually seems like it's worth saving."

that's just, um. sorry. I'm really trying here. That's just. Uh. Dumb. Do you root for Batman cause Gotham is a nice city? Everything's worth saving, that's, like, at its most basic what the concept of a superhero is about.

"Not only that but MHA simply does villain protagonists objectively better than Worm."

um. No? There straight up aren't villain protagonists in MHA. The villains are the POV characters for, like, one arc? You know what, here's a good spot for it. It's stated throughout the story that Shigaraki and the League of Villains have a goal, beyond just death and destruction. They're here to stop the corrupt society of heroes (that MHA hints at the existence of before backpedaling away from), and bring about a fairer society. But then, and this part pissed me off, one of the characters, I think Bakugo, says: "you're just using that as cover! you just want to kill people, you have no noble goal!" and shigaraki's like "dang you caught me." and then it happens again with Deku! Because My Hero Academia is allergic to saying something. Nope! They're villains! No moral depth here! They're Villains, We're Heroes, Go Put Them In Jail.

This is opposed to Worm, where- "The characters of the villains and their origins are used to highlight the flaws in the Superhuman society"

"Most of the villains are only villains because society failed them in some way, and the specific ways in which that happened become big plot points that then play into the future arc of our heroic characters."

I had to walk away from my computer for this one. It's hard to be civil. It's really hard. Polite and reasonable.

So Worm is about this. To even say this without a shred of irony makes me thing you've never once read a single word of Worm and are doing this purely as bait. Or you've read all of Worm and are doing this purely as bait.

"They're actually extremely complex in a way that ends up being fundamentally important to the overall story - where in Worm the villains are either based heroes fighting a corrupt system or they're histories [sic] greatest monsters... until they're presented as heroes again."

I think I get it now. I really think I do. You're not supposed to agree with all the characters. Like. Worm is inconsistent, in that it follows the perspectives of inconsistent people. Of course Triumph and Armsmaster don't agree on what is right! They're different people, they have different perspectives!

"See. Worm fans keep saying "This is Bait." It's not Bait, you all are simply ridiculous and obsessed with this series to such a degree that you feel compelled to say "This is Bait" instead of just... ignoring it, because you have no actual counterargument."

Perhaps worm fans are inclined to believe you posted rage bait because you brazenly walked into another fandom's post and wholeheartedly proclaimed that the thing they liked was Stupid Idiot Bullshit For Fucking Morons, and refused to elaborate until prompted, at which point you said several things that are demonstrably false about Worm.

"Your only response to anything I've said is pedantry, bigotry, and deflection. If it was obviously just bait why are you engaging?"

Well, I'm engaging because I've been in a foul mood since I woke up this morning. Also because you, again, said some very rude and patently false statements about a story that I really enjoy and find narratively rich, even in its faults.

"MHA's characters do fall into archetypal shounen character roles - but they are all given a solid amount of focus explaining why they are like that and developing them into something bigger."

Again, as I said, it's a genuinely impressive feat to have an ensemble cast like what My Hero Academia has, and give so many of the characters a degree of depth, with such little manga to work with. I think worm does it better, but worm doesn't have to be economical about it. MHA does. The problem I have with this statement is that it becomes a question of scale. How much bigger? They're no longer defined by their tropes, instead defined by their opposition to their tropes. It's still a one-note character, you've merely changed the note from C to C sharp.

"so almost every member of the cast has an arc that either develops them past the person they initially seemed to be or explains why they're like that."

This is probably my favorite part about MHA. They do have arcs! I love ensemble casts! it does a much better job in this than all of its contemporaries, even One Piece. However, they are comparatively simplistic arcs that all follow a similar formula.

"I've heard people say MHA is neocon or pro-establishment but the story literally concludes by showing that society HAS TO FUNDAMENTALLY CHANGE or the same problems that created the villains in the first place will keep happening. The entire time skip specifically focuses on the fact that for eight years the main characters have been forcing change in the world and addressing the issues the villains brought up."

Now, I'm going to be clear. I stopped reading My Hero Academia around chapter 275. I don't know the exact number, but it was the latest chapter in ~mid 2020. I would occasionally attempt to reread, in an attempt to catch up, but give up around chapter 200 out of boredom. I don't know exactly how the story ends, but I have read ~2/3rds of the story. I feel this gives me a pretty good understanding of the general tone of the story, unless it wildly changes tone at the 3/4ths mark, which you have explicitly said it does not, as it is extremely coherent and consistent. Therefore, I believe I can state with some degree of confidence that MHA does not do that.

I would certainly believe that it tries (and fails) to SFP it, but SFP does not promote a fundamental societal change. That's the problem. Strong Female Protagonist was willing to come up and say that Alison lived in a fundamentally unjust world, even if it was never willing or able to offer real change. And hey. You do what you can. I sincerely doubt My Hero Academia is even willing to call its world fundamentally unjust, from the 200+ chapters that I did read.

"In the case of the actual main characters, they have extremely comprehensive character arcs."

Adding this behind the last point just so that I don't have to reiterate I haven't finished the book. I am, however, very much not inclined to believe the actual main characters had extremely comprehensive character arcs.

Which plays back into the initial theory that ANYONE CAN BE A HERO.

man, spider-man did that better (not a real argument, but like, spider-man totally did that better). Not least because midoriya specifically could not become a hero were it not for all might giving him a power.

No, the Villains don't get happy endings,

Why not? Why do they go to jail, even the ones who changed and wanted to redeem themselves? Endeavor never goes to jail. He did some horrible stuff. He's redeemed himself in the eyes of the story, right? Anyone can be a hero, right? So why not them? Why haven't they redeemed themselves in the eyes of the story?

You may wish to turn this back on me and ask why doesn't Armsmaster go to prison? Because he's similar in some respects. But worm never calls prison justice. (for some reason, even though wildbow totally loves prison). Prison is punitive, a tool for those in charge to control those it manages to capture. Maybe some deserve life in the birdcage. Many don't. It doesn't matter. Because the birdcage isn't a tool of justice. It's not meant to be. it's a box to put the uncontrollable capes in, until they can be used as meat shields. So Armsmaster doesn't go to prison because the story says explicitly there is no point to it. But MHA? MHA says there is a point to it. Endeavor needs to go to prison if he wants to atone. He's escaping justice every second he's outside.

I have actually read Worm, and for the first half to two thirds I loved it.

Weird. That's exactly how long I really enjoyed MHA. Not, like relevant, to anything. Just odd. I mean, I don't actually dislike MHA. I think it's fine, actually. It feels like Indiana Jones and the Last Crusade to me. Funny (when Mineta isn't around), bombastic, and a good time, even if I don't think it's super thematically rich.

I'm not coming at this from the perspective of someone who has never seen any of the merits of Worm, I'm coming at it from the perspective of someone who really liked it, gave it a fair shot, and was eventually disappointed when it ended up not tying together right.

See, this makes me more inclined to think it's bait, actually. since you said "Oh yeah. MHA is published. MHA's been an ongoing publication with a large following for ten years, in a notoriously competitive industry. Now this might seem kind of unimpressive, it's a very low bar to clear I know. But it's one Worm hasn't, so. I dunno, I'd say that's fairly objective. Now you may think "Yeah, but Trash fiction gets published all the time." And that's true but again - Worm hasn't. The worst piece of fiction you can think of got published and Worm didn't. You wanna be an asshole about this? The thing you love is so mid that it was self published in 2013, couldn't get picked up for professional publishing until 2019 and as far as I can see has stayed in development hell since then." in your previous post. Sure, perhaps we can say you were pissed at the time, but "the thing you love is worse than trash fiction, an altogether nothing piece of literature that isn't even worth the paper it would hypothetically be printed on" does not strike me as the words of someone who "really liked it, gave it a fair shot, and was eventually disappointed when it ended up not tying together right." In fact, going back through your other statements on the story, you seem to have genuinely disliked it from the very beginning, on grounds of being too edgy (which I can fully understand the logic of): "IE: it thinks that all it has to do to be smart is be bleak and/or graphic," thematically incoherent: "It doesn't really try to say anything, in fact it contradicts itself throughout the book as I mentioned before, it just throws in extremely graphic scenes and content periodically to remind the audience how fucked everything is," and utterly devoid of purpose or meaning. "When it does introduce new lore that new lore is almost always overly convoluted and acts as a catalyst for things happening, but not really things happening that play into a wider theme or message. It's just "Oh and here's this team of god-level serial killers who are gonna string a dude up by his nervous system." Like yeah, cool visual, but what is any of this actually saying?" This does not sound like a ringing endorsement of the first half of Worm to me. In fact, this sounds like you hated every second of it.

"And frankly given the number of comments that are just people saying "Bait" - I don't think any of y'all have engaged with this in a fair or honest way"

I'm going to reiterate on my previous statement. I like my hero academia. Capeshit is my favorite genre, it probably always will be. They're my favorite genre of story. While I find the themes—or lack thereof—extremely frustrating, I still think of it as fun. I gave it a fair shake. I would probably really enjoy the ending if I didn't have a reading list that was 300 books long.

[himejoshiangels]

I fucking love we are robin they were so huddling in the back booth of the restaurant izzys family ran trying not to laugh while ordering, surfing on the tops of trains, learning how to treat a bullet wound crowding around the phone frantically collecting google searches, taking more hits than they were landing, listening to dax play shitty guitar in his garage while skipping classes, playing dnd in rikos basement, making snide comments while duke and dre argue again for the eighth time that day and watching duke try to resist dre bribing him with his cooking, being connect to someone you don't know halfway across town because they too know that with batman gone someone has to take care of this city someone has to do something and it might as well be you

[evasive-anon]

F's in chat for Jason, can't have shit in Gotham. Can't even meet up with your gf for burgers or feed the birds without gettin' got.

[lilbabybirdiefic]

Lol trying to research Gotham for fanfiction purposes is a hellscape. Literally every neighborhood is described as "the poorest, most crime ridden area of the city." Like I get that Gotham is crime central, but statistically speaking every part of it can't be the worst.

[oculusxcaro]

DNA. What was your muses home life like? (Before Prometheus)

“DAMN.” Questions for Muses. (also sent by @arkhmlcst and @enigmavis)

It wasn't much but Khare was happy. Born in Hull, she lived there for the majority of her years in a small family home, a few years after her older sister and quite some years before her youngest and only brother. Her parents were cordial enough for the most part but had the sense to seperate when it was clear they weren't getting along, unintentionally leaving Khare by the wayside what with being the middle child of the family.

Fortunately seperation went smoothly for the most part. Her sister was old enough to move out by the time it happened and Khare stayed with her mother for a while, bouncing in-between both homes while her brother stayed with her father. Things were as normal as you could get for a family living in one of the more deprived areas of Britain, living their lives in a rundown seaside town that had seen better days. She got everything she needed, rarely going without but never being as 'special' as her siblings left their mark as it wasn't long before she too moved out to find a place of her own. Despite not being as close with her family as she'd have liked, Khare retained a positive relationship as best she could, especially with her younger brother who'd always been on the small side for his age. She wasn't afraid to get physical with the local yobs if they tried it and did get into a couple of scraps but overall she wasn't much of a troublemaker, just not very academic. She had a goth phase to which she still looks back on with great embarassment.

[wickedghxst]

oh they’re just going all out with the medical malpractice & horror here huh. no fuckin wonder half of batman’s rogues gallery never recover stuck in a place like this.

[mckinlily]

Plot armor but it’s Bruce Wayne’s wealth.

Bruce is one of the richest men in the world. Bruce does not want to be one of the richest men in world.

He starts by implementing high starting salaries and full health care coverages for all levels at Wayne Enterprises. This in vastly improves retention and worker productivity, and WE profits soar. He increases PTO, grants generous parental and family leave, funds diversity initiatives, boosts salaries again. WE is ranked “#1 worker-friendly corporation”, and productively and profits soar again.

Ok, so clearly investing his workers isn’t the profit-destroying doomed strategy his peers claim it is. Bruce is going to keep doing it obviously (his next initiative is to ensure all part-time and contractors get the same benefits and pay as full time employees), but he is going to have to find a different way to dump his money.

But you know what else is supposed to be prohibitively expensive? Green and ethical initiatives. Yes, Bruce can do that. He creates and fund a 10 year plan to covert all Wayne facilities to renewable energy. He overhauls all factories to employ the best environmentally friendly practices and technologies. He cuts contracts with all suppliers that engage in unethical employment practices and pays for other to upgrade their equipment and facilities to meet WE’s new environmental and safety requirements. He spares no expense.

Yeah, Wayne Enterprises is so successful that they spin off an entire new business arm focused on helping other companies convert to environmentally friendly and safe practices like they did in an efficient, cost effective, successful way.

Admittedly, investing in his own company was probably never going to be the best way to get rid of his wealth. He slashes his own salary to a pittance (god knows he has more money than he could possibly know what to do with already) and keeps investing the profits back into the workers, and WE keeps responding with nearly terrifying success.

So WE is a no-go, and Bruce now has numerous angry billionaires on his back because they’ve been claiming all these measures he’s implementing are too expensive to justify for decades and they’re finding it a little hard to keep the wool over everyone’s eyes when Idiot Softheart Bruice Wayne has money spilling out his ears. BUT Bruce can invest in Gotham. That’ll go well, right?

Gotham’s infrastructure is the OSHA anti-Christ and even what little is up to code is constantly getting destroyed by Rogue attacks. Surely THAT will be a money sink.

Except the only non-corrupt employer in Gotham city is….Wayne Enterprises. Or contractors or companies or businesses that somehow, in some way or other, feed back to WE. Paying wholesale for improvement to Gotham’s infrastructure somehow increases WE’s profits.

Bruce funds a full system overhaul of Gotham hospital (it’s not his fault the best administrative system software is WE—he looked), he sets up foundations and trusts for shelters, free clinics, schools, meal plans, day care, literally anything he can think of.

Gotham continues to be a shithole. Bruce Wayne continues to be richer than god against his Batman-ingrained will.

Oh, and Bruice Wayne is no longer viewed as solely a spoiled idiot nepo baby. The public responds by investing in WE and anything else he owns, and stop doing this, please.

Bruce sets up a foundation to pay the college tuition of every Gotham citizen who applies. It’s so successful that within 10 years, donations from previous recipients more than cover incoming need, and Bruce can’t even donate to his own charity.

But by this time, Bruce has children. If he can’t get rid of his wealth, he can at least distribute it, right?

Except Dick Grayson absolutely refuses to receive any of his money, won’t touch his trust fund, and in fact has never been so successful and creative with his hacking skills as he is in dumping the money BACK on Bruce. Jason died and won’t legally resurrect to take his trust fund. Tim has his own inherited wealth, refuses to inherit more, and in fact happily joins forces with Dick to hack accounts and return whatever money he tries to give them. Cass has no concept of monetary wealth and gives him panicked, overwhelmed eyes whenever he so much as implies offering more than $100 at once. Damian is showing worrying signs of following in his precious Richard’s footsteps, and Babs barely allows him to fund tech for the Clocktower. At least Steph lets him pay for her tuition and uses his credit card to buy unholy amounts of Batburger. But that is hardly a drop in the ocean of Bruce’s wealth. And she won’t even accept a trust fund of only one million.

Jason wins for best-worst child though because he currently runs a very lucrative crime empire. And although he pours the vast, vast majority of his profits back into Crime Alley, whenever he gets a little too rich for his tastes, he dumps the money on Bruce. At this point, Bruce almost wishes he was being used for money laundering because then he’s at least not have the money.

So children—generous, kindhearted, stubborn till the day they die the little shits, children—are also out.

Bruce was funding the Justice League. But then finances were leaked, and the public had an outcry over one man holding so much sway over the world’s superheroes (nevermind Bruce is one of those superheroes—but the public can’t know that). So Bruce had to do some fancy PR trickery, concede to a policy of not receiving a majority of funds from one individual, and significantly decrease his contributions because no one could match his donations.

At his wits end, Bruce hires a team of accounts to search through every crinkle and crevice of tax law to find what loopholes or shortcuts can be avoided in order to pay his damn taxes to the MAX.

The results are horrifying. According to the strictest definition of the law, the government owes him money.

Bruce burns the report, buries any evidence as deeply as he can, and organizes a foundation to lobby for FAR higher taxation of the upper class.

All this, and Wayne Enterprises is happily chugging along, churning profit, expanding into new markets, growing in the stock market, and trying to force the credit and proportionate compensation on their increasingly horrified CEO.

Bruce Wayne is one of the richest men in the world. Bruce Wayne will never not be one of the richest men in the world.

But by GOD is he trying.

[puppetmaster13u]

I just think they'd be great brothers. Jason and Zuko could be buddies. Pals. Fire-themed bois whose worlds think they're some sort of spirits.

Both with albatross-inspired wings and extra swords hidden in their mechanical wings alongside built in "bone" blades. Red and Blue.

Swapping between worlds thanks to a portal Tim and them totally didn't build after 3 days of no sleep. Which is thankfully deep in the caves which are like labyrinths. Just in case something comes through that shouldn't. Which is how they now have a frog-squirrel and a group of flutter-bats. Everyone knows the turtle-ducks were purposeful. Damian is at least pleased and honestly who wouldn't like butterfly-moth-bat things.

Honestly the mechanical wings and tails and all that probably had to be altered for Zuko. Partly to allow for him to continue fire-bending and partly because his anatomy is probably slightly different since well, different worlds.

Which, even if he prefers his swords, Zuko probably starts making a really unique fire-bending style, seeing as he'd have a pair of wings and a tail that he can control like more pairs of limbs. Definitely looks similar to dancing thanks to combining the batfam's fighting style with the firebending he knows.

Gosh I am so tempted to write a lil spinoff crossover between my cryptid batfam story and ATLA. Like you cannot tell me Bruce wouldn't adopt the banished fire prince if he got even the smallest of chances.

Angry traumatized vigilante child? Who gets mistaken for a spirit and creature which is this world's versions of gods and cryptids? He would snatch him up in an instant.

[the-ghost-of-jason-todd]

everything i've seen of DC's united states is funny. admittedly i've only really seen new jersey, but new jersey alone is like "Gotham... the most ruthless, crime riddled city in the states... a dark, dreary, gothic tomb riddled with curses and ruin... a place where good things go to die... and then there's Bludhaven next door, which is somehow even worse"

[batfall-a]

HER upper half leans across bar countertop as her palm cradles chin. it's late ; the clock reads 3:00 AM. the bar lighting warm with soft undertones of orange and yellow - a contrast to the pouring rain outside , streets grey as puddles reflect a haphazard skyline. it's been raining for days , the sound falling upon windows is the current soundtrack as faint music can be heard.

he swivels gently upon barstool , occupying body. the bruises upon lower back remind him of the pain that he's in (he had almost forgotten). the pain a constant reminder of who he TRULY is. she asks a question , and her tone conveys genuine interest.

“   why  put  yourself  through  that  ?  “  / @wtrss

paige doesn't dissect him as others would , there's no great need to understand bruce wayne - what she gets are parts him , a little there , a little here , and he finds that with those parts there isn't a GREAT need to lie. though , he's become comfortable with that aspect.

i study my drink , it's seltzer water with a lime , and it's been sitting there most of night. the pain grows , and i feel the constant reminder of my duty to this city. it's tied to my heart , my body - i worry about this CARNAL appetite that gotham seems to have. always ravenous , and i all to eager to LET HER DEVOUR ME. the question still hangs , it takes me a moment. truly i could've been talking through my latest heartache - it's all the same (unhappiness within the city). though , i remind myself that there has to be levity within such heaviness. my cheeks pull upwards - a practiced smile blossoms , and my shoulders lean slightly inward. the pain shoots up back , and a laugh covers up what otherwise would be a wince.

' what can i say ? ' eyes widening as brows lift , ' why do any of us go on those dating apps ? ' looking down at his drink , fingers reaching for it. ' curiosity , though i deleted my account within ten minutes ' allows another soft laugh (NOT WITHOUT PAIN) as he exhales through clenched teeth. ' it's fucking weird right ? '

[gay-dorito-dust]

Hi again! I keep getting random thoughts about the bat boys. Going up to the bat boys in their clothes and cuddling with them. ♥️🖤🦋

Dick

Dick immediately reciprocated the hug the moment he saw you reach out to him, smiling brightly as he burrows his head into your shoulder, only to smell faint traces of his own cologne as he realised that you were wearing his hoodie.

‘You’re stealing from me now? After all I do for you.’ Dick gasps and you couldn’t help but giggle at his dramatics as you pinch his side, causing him to yelp a little. ‘Here I thought you’d get obsessed with me wearing your clothes but I guess wrong and should probably take it off now-‘ you teased as you tried to pull away from dick, only for him to pull you back into his embrace.

‘No.’ Dick cuts you off. ‘Keep in on as long as you like but don’t be surprised if I try to burrow my way under there like you did out of the blue.’ He adds teasingly, genuinely loving moments like these and feeling blessed to have you in his life to keep blessing him with moments like these on the regular.

‘I shall take my chances.’ You replied playfully as your hand reached up and your fingers ran through his hair in a soothing manor. ‘I couldn’t let a hoodie of this calibre go unworn.’ You add.

‘At least the hoodie knows it’s being loved by both its parents.’ Dick joked as he rubbed your back.

‘Very loved.’ You joined in on his shenanigans like you always did. You loved these small, meaningful moments between the two do you, as while they were few and far in between due to his work, they were more then worth the wait as it only made the moments all the more sweeter. ‘Love you dickie bean.’ You murmur in his ear, kissing his shoulder and feeling him sigh in relief.

‘Love you too baby.’ Dick replied as he hold you tighter and just at your feet sat Hayley, who was looking up at the two of you and whine, causing you both to laugh as you looked at her. ‘We love you too Hayley, very, very much.’ Dick adds as he used a hand to scratch her behind the ear. Moments like these were dick’s favourite for a reason and he wouldn’t trade it for anything.

Jason

The moment Jason felt you hug him from behind, he was quick to notice the familiar burgundy colour of his hoodie, a huge smile blossomed across his lips as he moved to face you properly.

‘So you’re stealing from my closet now are you, cheeky little chipmunk?’ He asks and you burrow your head into his chest to hide your smile, but it didn’t help that not only were you smiling but you were giggling too.

‘I couldn’t help it,’ came your muffled response, ‘it was too comfy to not wear it.’

Jason only chuckled as he tightened his hold on you, burring his face deep into your neck and breathing you in, just happy to have you simply in his arms and in his hoodie that he as been looking for the past five minutes too, but you were just too cute to deny and it didn’t help that whenever he did hug you he found himself not wanting to ever let go of you.

‘I’m very much aware, there’s a reason why I prefer it more so to others.’ Jason told you as though it was obvious, ‘and it’s obviously your favourite since you keep stealing it or try to burrow under it when I’m wearing it.’ He adds as he kisses across your necks humming in content as he felt everything outside of you two become quite; for with you everything was okay and Gotham wasn’t a shithole of a city, that nothing was wrong with him as he found himself healing within your embrace.

‘It reminds me of you,’ you admit, ‘keeps me safe, keeps me warm, keeps me loved when you’re far from me to do so yourself and I love being reminded of you and your love however I can, for being loved by you is the best thing that has ever happened to me in a while.’ Jason pulled away to look you in the eyes before pulling you in for a slow but sweet and lingering kiss that took your breath away.

‘Being loved by you feels like I’m healing, like I’m not the broken man others like to make me out to be, like I’m not this eternally angry person and I thank you for being back my smile.’ Jason says softly against your lips as he peppered your face in kisses, praising you, worshiping you in the simplest but effective ways possible.

Bruce

‘Come to bed.’ You whined as you threw your arms over his broad shoulders, burring your head into his neck.

‘You’re wearing my hoodie.’ Bruce stated matter of factly. You shrugged as you breathed in his scent. ‘It’s comfy and warm and was going to waste in the wardrobe.’ Bruce smiled softly at that as he manages to pull you into his lap, hands resting respectfully on your waist, rubbing it.

‘So you’re accusing me of leaving things to collect dust in my wardrobe?’ Bruce raised his brow at you, his eyes glinting in amusement as you pouted at him. ‘You underestimate how sexy and sophisticated you look in black hoodies and jackets mr Wayne.’ You teased as you gave his neck a could have kisses and a cheekily little nibble.

‘Behave yourself.’ Bruce warned as he pinched your side, making you giggle as you nuzzled his neck as though you didn’t do anything wrong while Bruce then soothed the area he pinched. ‘I’m only making an astute observation, nothing more.’ You defend yourself but you weren’t wrong, Bruce looked amazing in anything he wore but the moment he wore black hoodie or jacket, you swore heaven had came to greet you early with such a heavenly sight.

Bruce hummed as he rubbed your back, finding your antics humorous as you never failed to remind him how beautiful he was in your eyes, and while he was aware of this fact, it was the fact that it was coming from you made it all the more genuine. ‘You’ve got a unique way of saying so.’ He says as he sees you fighting the desire to fall asleep with the way you tried to prevent yourself from drifting off by toying with his shirt, distracting your mind in hopes of spending just those few more minutes with him.

While he appreciates it, he would much regret you sleep instead. However he was also aware that you wouldn’t dream of doing so without him also coming to bed and sleep, you were too stubborn because you were aware that he would stay awake for far long and so if you needed to sleep in his lap, you’ll do it for Bruce knew you well enough to know you would.

‘I don’t see you complaining about it.’ You murmured against his neck, ‘now are you going to come to bed or do I have to drag you.’ You add but half of your words were slurred from the sleep you were trying to fight off, which made Bruce laugh as he helped you to your feet and escorted you to bed. ‘You don’t have to worry about dragging me my dear.’ Bruce replied, ‘I was just about to head to bed regardless you or don’t.’

[iyohme]

and i know that you mean so well;

but i am not a vessel for your good intent!

("Tongues and Teeth," - The Crane Wives)

my serotonin got jetpack bursted into the stratosphere with this blurb by OP. Your brain is so juicy and moist and wrinkly OP. Godspeed. I'm not even into DC but the whole "Burnt out and neglected, and now a bunch of people driven by guilt guilt guilt want me back so they can feel less guilty?" just made the racoon in me rub its hands menacingly hoho

Just imagine not even living your best life; just a shadow in the lives of the illustrious Waynes, a ghost in a castle, visible only to the loyal servant and the occasional curious paparazzi who shrugs and looks away--after all, there was no mention of you in any occasion: must be the kid of in-house staff. How nice of Brucie Wayne to allow even the children of in-house staff the opportunity to study at such a high-end college! (The reporters chortle and snicker at your barely-passing marks, sighing at such a wasted opportunity. Oh well. And then they move on to the tabloid topic of the week, after the strutting socialites and the rich and the arrested Rogues.)

You gather things.

You gather pieces of a cracked dream, a single plastic teacup you had brought into the cavernous mansion the day you held Alfred's old, gnarled hand. Ears ringing and slippers still stained with your parent's blood as they were gunned down before your very eyes. You gather your things, what made you before you were "Wayne," so to say. Your mother's old cigarette box, smuggled from the crime scene, your one memento of the woman who you could not forget but never forgive.

A juxtaposition of love and hate, forever crucified. The image of the Virgin Mary inside the tin box seems to be a mockery of faith, across from her image lying cheap cigarettes.

You gather test papers, all barely passing and with more reds than blacks, and grind them up into strips with the shredder you had brought; just one time the black card Wayne had given you, and it left the bitterest, sourest aftertaste in your mouth. They burn so cozily on the school Bunsen burners, especially when sprayed with alcohol, immediately immolating like timelapse sparkler videos. You gather your name before the Incident, you cherish it, and you repeat the syllables in the dead of night, spilling past your mouth. Even if it was the name of a child-abusing monster, it was still yours, and it was still of use.

And use it, you would.

While they go and be a family, you work to begin yours.

You gather funds: it's easy to take on odd jobs when people do not suspect you. You tuck away that black card at the bottom of your study table drawers, forgotten there like scribbled-out pages of an essay, an unfinished drawing, and leftover candy wrappers. It's a bit-by-bit work, but you know the Waynes wouldn't even see it happening. Your brothers and sisters (an absurdly alien concept, as they don't even acknowledge you exist ninety-five percent of the time) are prodigies paraded around at every event. You are the unseen ghost flitting through their shadows.

Graduation comes and goes. It's laughably easy to falsify having lost your social security number and other documents--Gotham is that much of a shithole, you suppose. The man in the cowl notwithstanding. His efforts are admirable, but weak. Recidivism is common in this place, as if there were some sort of pull that incited the people in Gotham to cruelty, to madness.

It's absurdly Lovecraftian, in its own way.

You are not even living your best life, and yet you are free. Alfred knows; he always knows. If you are The Ghost, then the aged butler is a man one step between the doors of death, and he sees you every time you move. Your room is empty, and he raises an eyebrow at your satchel: all your items already stored elsewhere or given away.

("I suppose this was a long time coming, Little Master."

Tap tap tap. Footsteps on marble floors, setting sun.

You shrug. "Eh. The Waynes gave me a roof and education. It's all good."

You grunt. "Well, people change. Like you know, how kids being gifted stop being gifted when they grow older." You say, instead of 'Well, if a child doesn't get any praise or attention if they do good and probably even less if they were bad, why even bother?')

A pause. "Your academics were not so lackluster when you were younger."

You promise to try and stay in touch. (You crossed your fingers behind your back.) You leave, sunset on your face.

The nap you had in a dingy hotel with far too many odd stains and not enough locks you could put on was the soundest you've ever slept in years.

Freedom smells like summer air and the last rays of sun, followed by the cold blue hour.

It takes three months for an out-of-state college to accept you. It's far from Gotham. It has a dormitory. Excellent. While you were indeed a mediocre academic student, you had banked everything on band scholarships.

Who knew more than a hundred clarinet players had unclaimed scholarships yearly? Packing up your small life in bags, you take a train upwards to another state.

(Meanwhile, in Gotham, there is an odd sense of unease as Bruce Wayne stops by an inconspicuous door. It's relatively clean, as expected of his manor, but the worn out brass on the handle suggests that someone had lived there before. He opens the door. Steps in. A bed, a dresser, a study table. Bare bones.

The unease intensifies. But who?)

Someone had lived in here, yes.

[gatorbites-imagines]

Kinktober day 13

Jason Todd + Masks or Helmets

Hi guys, hows everyone doing lately? Im tired, but what else is new. Such is the waters of life, or whatever they say. I have no idea where I was going with this, enjoy. Kind of goes hand in hand with the Jason prompt from last year, which you can read here. This is more focused on their relationship, so it might be a little bland.

2024 kinktober masterlist.

What you and Hood shared didn’t have a name. you weren’t officially dating or anything, but you only messed around with each other, if that made sense. He got you stuff in leather, and let you fondle his body, when and when he wasn’t wearing that latex bodysuit. It got you both going, and helped keep the edge off when things got annoying. Plus, he was hot as hell, even if you had never seen his face.

Him wearing his helmet always seemed to add a bit of an edge to what you two did, especially when your hands followed the shiny surface of the black latex suit he wore, only to see it follow up under the helmet. There was a small seam just below his head, before the helmet started, but that was all. It left you almost dizzy just thinking about it, wondering what was beneath it all.

Of course, you didn’t get to see beneath it for a long time, even when Hood got wacked hard enough in the head that he could barely stand on is own two feet, and you had to drag him to Leslie’s. Leslie was used to seeing you, both of you. You liked to fight, and Hood just always ended up fighting whether he wants too or not. All the leather you wore was pretty damn recognizable too, making you a memorable sight.

At least, it would have made you memorable, if this wasn’t Gotham. Most folk were too busy trying to survive this shithole to worry about what anyone wore, only checking if it was the uniform of some rogue or gang, before going on their way. The red streaks to your outfits were enough to let people know you were one of Hoods, and that’s all they needed to know.

You knew Joker had gotten out some days before, and that he had finally been picked up by the bats again, after causing more death than that clown should be allowed too. You hadn’t even needed to check the news or anything, since Hoods pacing and ranting was enough to tell you that the clown was out again. If it were up to you, then Joke would have been dead a long time ago, would do a lot of good in your opinion.

It got to a point where you felt like Hood was gonna burst a blood vessel, so you had to resort to the good ol, rub his torso and try and calm him down. He was wearing the same latex as always, his angry breathing loud enough for his helmet to pick it up. Hood sounded like some kind of angry dragon about to breath fire all over you, or maybe that was just you making things up.

The helmet was blank, the white eyes doing nothing but staring at you with no feeling or tell of what was going through his head. You had learned some of his tells over all the time, at least what Hood allowed you to see of him. It wasn’t a lot, but it was enough to know when he was angry, stressed, sad, or whatever else he might feel that could hinder him as a leader.

Him leaning his head back to flash his latex covered throat was a bit new though, his shoulders slumping as he exhaled loudly, clearly debating on something inside his head. Hood had a lot of thoughts, a lot of it that he never shared with any of you and kept to himself. That was just how Hood was, he had at least gotten better at sharing when something could involve you guys, sometimes.

You almost wanted to pull your hands off his torso where they had been rubbing his stomach through the shiny material, when he reached up to grab his helmet. It felt illegal to see what was beneath it, your hands tensing up with the instinctual want to cover your eyes. Seeing Hoods face felt so wrong, like something you should never be allowed to do.

It left you a bit stumped as the helmet came off, only to reveal… another mask. Or rather, another hood. You didn’t know too much about the whole, gimp culture, at least you thought it was one of those masks. Except it had some kind of mesh material covering his eyes and mouth, still leaving his eyes a mystery to you.

You were speechless, and you were rarely speechless. Hood barely looked like himself as he shucked his jacket and shirt off, herding you backwards until you were sitting in his chair, in his office. Having someone as large as Hood kneeling between your knees was still new and uncomfortable in its own way, but also nice, good.

He clearly didn’t want this to go anywhere, as he avoided rubbing against the obvious hardness sticking to your thigh through the tight material of your leather pants. Instead, Hood just pressed his forehead against your knee and sighed loudly, rubbing his head from side to side, like he just needed something.

With slight hesitation, you finally just decided to say fuck it. There was a guy in the sewers who looked like a crocodile, a chick who controlled plants, and you were pretty sure there was a bird cult in the city. So, who where you to judge that your boss, who’d clearly shown you that he was into this whole thing, was into this whole thing.

With a soft exhale you just place one of your leather gloved hands on the back of his sleek head, moving it in slow motions back and forth. Rubbing from the back of his head, down between his shoulders, and back up again. It felt almost like scrubbing the hood of a car, not that you legally owned one. But you’d painted and waxed enough cars for the motions to be familiar.

You felt kinda bad comparing your Boss to a car getting waxed, but what he wore left him shiny like one, so you couldn’t really help it. Hood clearly wasn’t gonna get all soft and pliable like you’d seen in videos online, not in some place as dangerous as his office. The only place that was good enough for that was his safehouses, you hoped. The guy needed some time to just turn off his brain and do what he liked, but realistically no place was ever safe enough for that in Gotham.

Sitting here rubbing your crime bosses hooded head wasn’t ever on your plans for the future. But it was nice in a way, if you didn’t think too much about it. There was a familiar throb between your thighs that told you that your body definitely liked it, you just had to turn the thought in your head for a bit, maybe even do some research on whatever it was Hood was into.

Latex, full head covering, and masks wasn’t really your thing, but if Hood was into it enough, then yeah, you’d learn about it. He had always been a nice guy, in the way crime bosses could be nice, and you had this whole, strange relationship going on, which made it worth learning about.

Maybe next time, when he wasn’t this worked up, Hood could actually tell you about it. For now, though, you just sat there and comforted him, in that strange way he seemed to need. But everything in Gotham was weird, so maybe this wasn’t as strange as it felt. Not weird, maybe you should just call it new instead. It was new, and you were happy to explore it with Hood, if he allowed it.

[maxwell-grant]

The Penguin: Episode 1 Breakdown

Thank you Lauren LeFranc, Mike Marino, Colin Farrell and Matt Reeves, we owe you the world for this, good God. It's finally here everyone and I've decided I'm gonna give each episode it's own post/breakdown of thoughts, because hahaha holy shit you guys this is beyond what I even dreamed of, and we're gonna be covering this for a while I think. I've worked out enough madness about this out of my system by talking with friends and I can't seem to be able to work on anything else till I get this done, so let's do it.

Bottom line: This isn't even just a must-watch if you like the Penguin or if you like The Batman, this is something I'd recommend to just about anyone in a heartbeat, something I can point to when people ask "why do you like The Penguin so much" and, instead of the elaborate nerd ramble that usually turns them off, I can just tell them to watch this. A friend of mine (who already loves Batman and digs the Penguin quite a bit) even told me as much, that he's starting to get why I love the character so much, and truly, is there a better feeling than this? Well, there is, and it's watching the show. Let's dig into this first episode:

Right upfront I'm gonna say that this doesn't really seem to be the Sopranos rip-off that people have been calling it before release, although there are definitely Sopranos comparisons to make here. I've spent the past months finally watching The Sopranos in order to get the comparison and definitely want to talk about those comparisons after I finish it (and this show ends). This thing aims to stand on it's own legs as a crime show and it's smashing out of the gate with an extremely promising first episode.

So this just casually opens with the reveal that all along, there was a second rich Gotham the whole time that was completely unaffected by everything we saw in the movie, already throwing a great twist on the events of that movie, and further reinforcing how fucking full of shit The Riddler was. All we saw Batman and the others deal with in the movie was just affecting the poorer parts of the city. All Eddie did was drown rats, and make life worse for the people already in the bottom, while never even getting close to targeting the systemic rot that ruined his life. He retains ideological worshippers in subways obsessed with the corruption of the city without doing anything to actually improve it, and because of him, the streets of Gotham are waterlogged shitholes while the rich Falcone suburbs are doing just fine, peachy even.

I said a while back that, in spite of having about 6 scenes/10 minutes of Penguin runtime, The Batman managed to squeeze impeccably controlled Penguin Trademark Scenes, and this show opens with the last one they didn't get to then: Penguin killing someone for making fun of him. In the movie, he tries doing that with Falcone and is beaten to the punch, so here he gets to actually do it to disastrous consequences.

Fucking adore that the inciting incident of the show is based on the fallout of Oswald killing someone for making fun of him. He pours his heart about the dream he lives his life for, his new boss makes fun of him for being an embarassment to their profession and then he does the most typical Penguin thing by killing him for it and laughing afterwards. And then he realizes how badly he fucked up, and then we get a fucking perfect titledrop with his musical theme, the exact moment we finish The Batman and enter The Penguin.

God it is so fucking cool how the make-up/lighting, the scar across his face, makes it look like he's got a genuine beak from certain angles, how they're able to achieve that effect without giving him a more literal beak for a nose. Everytime they talk about the character, Reeves and Farrell always emphasize how integral the make-up was to them figuring out what to do with Oz, how little they knew what to make of his six scenes until Marino created their monster and suddenly everything fell into place. Mike Marino fully deserves co-credit for the creation of Oz.

Pretty amusing that Victor, as designed to be Penguin's Robin, has exactly the same origin as Jason Todd, a poor street kid trying to steal the hubcaps off the Penguinmobile (I'm sure this bodes very well for his odds at survival), as is the way in which Oz goes on about his recruitment. He press-gangs this kid at gunpoint to help him bury a body arguing with himself and eventually the kid why shouldn't he just kill him to be safe, while trying to impress the kid with his car and air freshener and later that bullshit about "What, you think I hire any schmuck off the street?". From the tile drop onwards, he's doing everything on the fly while also spinning long-term plans set in motion as soon as he's on screen, he's taking this kid in out of sympathy and because he enjoys a power dynamic over someone weaker than him and because he very much needs someone to help him get stuff done. I'm extremely interested in exploring Penguin having a mentorship dynamic and I'm beyond curious as to what happens with Victor from this point onwards, but that poor kid is in for a terrible fucking time.

Found it very funny how much he half-asses the murder threat to Victor. Like it's his first time actually doing it and he's trying to be serious, but not too scary because he's already seeing himself in the poor kid with a stutter and wants the kid to think he's also a cool guy like he wants everyone to think he's a cool guy. I also think having Victor as the POV helps to sell moments like these, because it's still terrifying to him. Even as we follow their stories, these power players of Gotham are still big scary monsters to people caught in the dregs and Victor helps to reinforce that.

I enjoy Oz being friends with sex workers and drag queens off the street as much as I enjoy Oz being depicted as the kind of guy who deludes himself into thinking the prostitute he's with actually likes him, Lauren and Farrell launched into a bit about in on the podcast and I'm curious to see what's going on with him and Eve here.

Lots of perfect funny little character moments across the whole thing. Oz insulted by the idea of taking extra pickles off a poor kid's dirty mouth, but with zero hesitation whatsoever for picking jewelry off his boss' corpse. Dude is governed by principles even as he actively has to break them to survive.

"Technically it's plum." "He is the - or was the - new kingpin", "He's got nurse-like qualities." The show is not overtly trying to get you to find Penguin likeable as much as it wants you to find him engaging - making you think he's likeable is Colin Farrell's job and he's masterful at it, definitely a lot more matured within the character compared to the movie.

If there's anything in particular I'm thankful for regarding Gotham (well okay Gotham led directly to Telltale Penguin which was the basis for this one, so really I do have a lot more to be thankful with Gotham), it's the decision to give him a legit waddle via the broken foot, but the way they incorporate it here with the club foot does so much for him, so much as a modern day reinvention of The Penguin. Adds so much to why he's never been a serious candidate for mob leadership, why he kinda had to spend all his time in the Lounge, why he actually needs someone to help him run affairs, why he has such a gaping ego wound and is so murderously angry at people making fun of him / calling him a goddamn penguin, adds so much validation and so much darkness and nuance to Oswald's overwhelming anger and bitterness over how the world treats him (and so much power should he opt to reclaim it, in turn). It's the kind of thing that frankly feels like it should have always been part of the character, like what all the previous versions were itching closer to or trying to get at. Of course this is a guy gets called a penguin and he hates it badly enough to murder people over it, of course.

This gets to really highlight how differently Oz acts depending on who he's with. Traditionally, one of my favorite things about The Penguin, and one of the things that puts him above the other villains, is that, due to his position, he has to interact with a lot more people than the other Bat-villains. He has to manage a lot more relationships and dynamics, he has to play peacekeeper and puppetmaster. he's the only one in the United Underworld who's regularly interacting with and recruiting other villains to do business with. He's the guy who you pin stuff on like the Gangland Guardians, Team Penguin, doing betting pools with the Rogues taking cover in his Lounge while Joker War is happening, having to rig games to keep good standing with Maxie Zeus and Frenchy Blake in Batman Audio Adventures, and so on. So I greatly enjoy this beat here of him talking about how makes himself smaller before the Falcones, and that moment of him adjusting his outfit and practicing expressions in the mirror before meeting with them. How he contorts himself is present in all of his relationships, and retroactively adds to the way he carries himself in The Batman.

It seems that Oz is functionally regarded as the Paulie Walnuts of the Falcones: useful muscle, loyal for the most part and amusing to keep around, but largely an unstable self-serving dumb asskisser kept where he belongs, a liability if not kept on a short leash. I think the show does a good job of highlighting all the reasons why Oz has never been seriously regarded as a viable option for a boss, even putting aside his disability. He is a fundamentally embarassing person for these serious respectable criminals to be around and of course, the joke is ultimately on them..

Of course, there is only two people in the show who actually know what he's capable of, Francis Cobb and Sofia Falcone, said to be the central relationships defining the show moving forward. Both of them also a defining commonality with Oswald, being people who are looked down on and dehumanized, and characters who are underestimated until it's time to bear their fangs.

Extremely invested in where they're going with Sofia Falcone, Cristine Milioti's been killing it, and will in fact not stop killing it. What a perfect villain for Penguin they've set up with her, someone who has his Kryptonite: she does not underestimate him. Although we know in advance that Oz is going to live and be in the next movie, the question here isn't even so much who's going to win the gang war, and rather how much damage these two freaks will do to the city until Batman gets back. In many ways, Sofia represents the shape of things to come just as much as he does.

She is this embodiment of both the pristine unfathomable wealth and privilege and power that he both detests and strives for, as well as this brutal new breed of madness and violence attacking the streets that he has to survive against and make deals with (and is himself very much a part of, however he denies it). She is Falcone's legacy in every way that matters, both a Kingpin of Gotham whose existence creates the oppressive conditions under which a Batman or a Riddler are created, as well as the Arkham Rogue, the larger-than-life sadist with a tragic origin and a signature torture-murder method and an embarassing name for the papers.

Even the fact that she is The Hangman, and Carmine was defined around his penchant for brutally strangling women - regardless of whether or not she did the crimes that got her in Arkham, she's become this larger-than-life themed expression of a violent obsession in a way that sets her up as every bit the Batman villain that The Penguin is. The two champions of the two Gothams, duking it out in this new world The Batman and The Riddler made, The Penguin vs The Hangman.

I am so glad Lauren LeFranc made the call for binning Alberto in the first five minutes so the rest of the show can focus on Sofia and make a real character out of her in a way nobody's ever really done before, every step of the way so far LeFranc has been perfectly on the ball about where to take these characters and their conflict. And speaking of those,

I feel very confident in saying that this is the first time anyone's ever really had something worth doing with Oswald's mother as a character in her own right and not just a source of anguish for Penguin (Gotham was almost onto something with Gertrude, but not nearly enough). When it comes to Penguin origin stories, my favorite's always been the Pre-Crisis one, where he's poor and bullied but happy with his mom and birds until she dies and the government seizes everything he has, which doesn't necessarily involve her much. But here? Francine Cobb is a real character in what little time we get to know her, and what a character she is. We quickly understand the role she's playing in Oz's life, not just as his mom and person he loves and strives to protect, but the person who's sculpting him into the man he's going to become.

She is vulnerable and she does need meds and she's not quite all there, and Penguin's need to care for her is visible in other actions of his. But then they turn it around by showing how strong and demanding she is, how she is fiercely ambitious and pushing him to be something he would otherwise not be, how much she loves him and sees greatness in him. She knows he's a people pleaser, she knows how to push his buttons, and she wants him to be more, so of course he's going to be more, because he lives to please his mom.

Related to this is this absolute bullseye of a summation of The Penguin, that Lauren LeFranc delivered in the podcast: "Perhaps his greatest fear is that love is transactional. And that yet, everything he does, every decision he makes, is as if that's true. As if "love is transactional" is a truth he abides by". Oswald's conception of power is being loved and revered like Rex Calabrese, and the love he wants most in all the world is the one from his mother. So in turn this, and all extensions of it, drive him to greater and darker lengths.

He doesn't have that ambition quite down yet, it's his mom that does. She who's pushing him to take over the city and not just be a guy scraping by for survival. He's smart and ambitious and extremely good at slipping out of trouble, but she's pushing him to be the guy who will be taking the city by the horns because that's what he has to be for their sake. Her legacy to her son is nurturing him having that dog in him that will make him the supervillain who picks fights with Vengeance. She is the force that's turning Oswald into The Goddamn Penguin and I can't wait to see how she's developed.

Of course he reprimands Victor in that scene for lacking ambition, who do you think he gets it from?

Really love what they've done with Sal Maroni in here so far. I like adaptations that take these throwaway Batman backstory gangsters and make something out of them, in this case, with Clancy Brown lending his power and voice and reputation as The Grand Boss of Villainy to play the last Respectable Gangster of Gotham, this intimidating principled old tiger who's inversely proportional to how much of a petty and scummy piece of shit Carmine Falcone was. Extremely a guy I'd want to see playing a hand in the creation of Two-Face. Just as crucial is the fact that he is the one who gets the most effortlessly outplayed by Oz here, because this is The Penguin Show: no room for traditional or respectable gangsters anymore, their purpose is to be crapped all over by our wacko birdman.

There's a lot about this that re-contextualizes his behavior in The Batman and the one I'm gonna point out is: even though he can't be sure his plan didn't completely go to shit, he is still keeping his wits and not being terribly scared about being beaten up and tortured and staring down the scariest Falcone with a gun shoved in his throat. But he craps his pants at the sight of the Batmobile. He gets pain, he gets indignity, but he doesn't get Vengeance, what kind of sick freak would come up with the stuff that guy does. A gun in his mouth and Falcone torture is just Tuesday, but a car that wants to eat his soul is some psycho shit he's just not ready to deal with.

It is the delicious tasty fucking irony that Oswald thinks Vengeance is this weird freak who doesn't play or bend to any rules and is here to fuck up everything, just like the madman who flooded the city, and thinks of himself in turn as a justifiable guy standing for the respectable old-fashioned empathetic way of doing things, instead of the exact same thing that Riddler and Batman are. Only Sofia gets what he really is, the same thing as her, and that's why she is the arch-enemy / the biggest thing he's gotta defeat in life for now.

God, how fucking PERFECT it is that he gets caught and tortured because he, after stabbing out a man's eye and causing him to get run over by a schoolbus, stops to wave at the kids in that schoolbus while covered in blood. Just the Rex Calabrese of it all, the self-image, this guy who's both a mean nasty son of a bitch and also a real bleeding heart softie and in ways that ruin his life and allow him to slip and wriggle his way out of shit he has no right to, as demonstrated by the finale.

Thinking about Sofia chastizing Oz saying he thinks she is a toy to play with, while rattling off the ways in which she owns him and everything he has, all the ridiculous little accessories her daddy let him play him, and he in turn is a ridiculous little accessory for the family she is twisting until it breaks. Perfect fucking villain for him. Can't wait to see how badly these two are gonna burn Gotham.

I knew deep in my heart that all I wanted out of a Penguin show, the thing that I simply needed to have in it, was Penguin pulling a heist set-up in advance, and it fucking delivered. He doesn't even complain at Victor for being late, because if anything, getting captured and tortured while the car crashed was even better for him. No, he complains at Victor for not being sufficiently gruesome with the body. See, unlike other cowardly anti-hero reinventions of Bat-villains, the show never wants you to forget that Oz is a weird freak and a disgusting piece of shit, even if he is a very likeable and even aspirational one. Only by the most random stroke of fate it wasn't Victor that he fed to the wolves at that moment, that he sees himself in the kid isn't exactly ensuring that he's gonna make out of this in one piece.

Mr. Vengeance gets Nirvana, and Mr. Boniface gets Dolly Parton, perfect credits.

In conclusion: Out of everything they could have done following the thunderous success of The Batman and it's ensuing influence over the DCU, out of all the offers Reeves must have gotten to helm their new universe after delivering a megahit reinvention of their breadwinner blockbuster character, Matt Reeves went "Nah, I listened to my crew, and what we really want to do is 8 hours of television about the waddling freak who's in my movie for 10 minutes", and he and his crew deserve the world for that. I dreamed as a kid of getting to make a big Penguin story or show, a wild impossible idea that would never actually happen, and now it's here and it's better than anything I'd ever imagined.

I'm fit to burst with joy and riding a high of no longer having to hunt for scraps and washing away decades of put-downs for the character and enjoying a Penguin renaissance like one I never imagined happening. I am extremely not an unbiased reviewer here, this show rules and I've waited for it since I was a kid and it's here, drink it the fuck in cause it's only the beginning.

[spoilerqlert]

imagine picking up a batman comic for the first time, and you read this introduction. it does a good job of keeping Gotham a mystery, but still makes you curious to know more

Detective Comics (1937) #53

this is the first time gotham city is named in the comics (before batman was just living in metropolis)

but like what a sexy introduction