#life worked against them with bruce in between them and their very interesting dynamic | Explore Tumblr posts and blogs

roobylavender · 1 year ago

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i missed that class what dont you like about starlins rendition of their relationship?

(and also like, DID you think he did something in particular well or was it all…meh

the crux of my issues in this regard stems from batman #416. in the post-crisis era you began to see this way more lopsided depiction of bruce and dick's relationship wherein the former was portrayed to be almost.. bitter that dick had moved on to establish his own life. and it stood in great, great contrast to the bruce of the pre-crisis era, who was certainly devastated at the realization that dick was growing up, but also very intent for him to find his own happiness and way in life. they would have their disagreements on occasion (e.g., bruce initially disapproving of dick dropping out of college, bruce immediately taking leadership of a situation where the titans were involved when dick was better equipped to handle it, etc.) but the outcome of those situations was never outright bad yknow. bruce was very much capable of recognizing where he might have overstepped and subsequently stepped back to let dick have his own space. and i think initially max allan collins expanded on that dynamic in the post-crisis era in interesting ways by juxtaposing bruce's desire to see dick flourish against his own constant fear for dick's life. so instead of mike w. barr's comedic and lighthearted backup stories in early 80s tec where bruce disguised himself to keep an eye on dick's shenanigans and assure himself everything was going alright, you got this more serious confrontation within bruce with regards to his position as a parent. i don't think a lot of people read it that deeply but i've always viewed batman #408 as one of the most sensible depictions of that dilemma. the general complaints tend to be that this issue robbed dick of his pre-crisis decision to retire robin on his own, and i'll concede that as a worthwhile concern. but i don't think it's esp damning what with the implication that bruce no longer wants to be the person indirectly making the decision for dick to continue to be in this line of work. their moment at dick's bedside is less about bruce robbing him of the decision and more about him saying, if i let you still be robin, that's a direct reflection on me, bc i'm the one who got you to do all of this originally. i'm the one who put you directly in harm's way. if you're going to do this from now on, you need to do it on your own terms. you need to decide for yourself that this is who you want to be, without your relationship with me even being a factor.

it's a moment contributive to that delicious dynamic between them wherein every decision bruce takes to service dick's agency is inevitably read the wrong way by the latter to imply that he's not valued or not worthy of being seen as bruce's equal (and before the hounds pounce on me this obv does not include the increasingly abusive depiction of their relationship as the 90s progressed). that is an unavoidable dilemma when you're simultaneously someone's ward/adopted son and also their partner-in-crime! dick wants to be bruce's son and to be entitled to all of the love and care and protection that that entails but he also wants to be bruce's brother, his equal, his confidante, the one person he trusts more than anyone else in the world, etc. it's a tough place to be! it is paradoxical! and i'm so, so open to seeing that explored and think the way collins attempted to approach it in #408 was marvelous. but the way starlin (and other writers as well) totally swerved right in #416 to create this sudden resentment in bruce that dick had grown out of needing him was.. so utterly bizarre. like completely out of left field in a way i don't understand why people don't question it anymore bc in light of everything in the immediate fifteen years prior to the crisis it makes so little sense. their relationship with each other was so valued, bruce was so anxious to see dick establish himself while nonetheless maintaining a protectiveness over him, but it was all very much in good will even if he could overstep on occasion. it had all of the potential to allow for a very nuanced, empathetic exploration into the dilemmas of parenthood and esp when you are someone like bruce who has to forever live and contend with the crime of taking kids with him out onto the streets. bc he has to feel guilty! there is no escaping it. this is history, done and dusted forever, can't go back in time, so on and so forth. whatever harm comes any robin's way he has to live with as in some part being traceable back to his own actions. and i frankly believe that would be far more likely to evoke grief and anxiousness and concern than it would be bitterness that his son is charting out his own life

#as to do i think starlin did anything well. hmm #i like that he was able to acknowledge that jason's parents were loving people despite their circumstances #it didn't matter that willis was a criminal. what mattered was that he loved his family and would've done anything for them #which was a rare concession from starlin bc his writing could be pretty classist elsewhere #but at the same time idk sometimes i read it back and it's like. i don't think he was actually as classist as winick was ultimately #like it's been a While since i reread the starlin issues #but you could tell he believed jason's demise was less about his social class and more about being unable to fully recover from #or process his trauma as a result of the life he'd lived and the things he'd experience. hence the garzonas saga #and even in a death in the family the question is never about whether jason is acting out bc he's criminally inclined #bruce explicitly says he doesn't think he's given jason enough time to mentally and emotionally recover and that's why #he suspends him. so even starlin knew it was about the trauma first and foremost #and i mean that somewhat goes in line with his reasons for wanting to kill robin to begin with #he thought robin was symbolically representative of child abuse #in that it wasn't the conduit through which a young boy should necessarily grow #and ideally? the way to explore that in a medium that Requires the existence of child vigilantes #would have been to make the distinction that while there is always going to be some danger to every robin at the end of the day #what made the danger to jason distinct was that robin didn't work to resolve His trauma specifically #what robin did for dick is never something it could have done for jason let alone tim. there were too many other factors at play #so if this dilemma had been approached that way rather than starlin pursuing a blanket robin is child abuse ideology #that was subsequently picked up by other writers. then i think we might have gotten somewhere quite interesting #but anyway yeah so he's not my most hated by any means. there are parts i love there are parts i hate #ultimately at the end of the day winick will always be a gazillion times worse #outbox

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bigskydreaming · 3 years ago

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I am looking (disrespectfully) at the trope of Bruce and other family members only seeming to respect Dick’s wishes when doing so aligns with what they already wanted to do.

Let’s go to the examples!

1) Bruce not broaching adoption with Dick because he wants to respect Dick’s first parents and feels like he would be taking their place or overstepping or putting himself in between Dick and his memories of his parents. Sometimes its cited that Dick himself expressed this wish early on after his parents died, sometimes its not and this is still just upheld as Bruce’s reasoning for not adopting Dick before he was already well into adulthood.

THE FATAL FLAW (in mine own personal opinion, natch. Personal mileage may vary, check your speedometer to be safe):

This particular plot point or tangle is in my experience ALWAYS paired with Bruce’s own insecurities about his role in Dick’s life, or not wanting to push that or receive an answer he doesn’t want to or is afraid to hear. Sometimes its about his fears of unworthiness to be Dick’s actual parent, etc, etc. But the bottom line is, there is always the presence of SOME element (and not a small one) in which Bruce’s own self-interest or feelings are protected by him NOT broaching the adoption conversation with Dick and having to confront these fears head on.

This is additionally juxtaposed with the problem that although there’s a lot of variance in regards to stories where Bruce fired Dick versus stories where Dick gave up being Robin and moved on to Nightwing voluntarily....there’s NOT a lot of stories where Dick makes Jason Robin himself or is asked by Bruce first. The part where Bruce takes this initiative on his own, without thinking through its repercussions on Dick emotionally.....this is practically always present.

Now, the problem here is that......Dick became or began becoming Robin well into his time with Bruce. Its frequently cited as the thing that began allowing them to truly connect, their time training and acting as Batman and Robin.

Meaning no matter WHAT interpretation you go with as to why specifically Dick chose the name Robin, whether it was a family nickname or an homage to Robin Hood.....the fact remains, NOTHING of Robin, THEMATICALLY, nothing that spoke to Dick in regards to what he wanted Robin to be - specifically in honor of his parents because avenging his parents and making sure what happened to them didn’t happen to others like, this was literally a key part of what bonded Dick and Bruce, the fact that Bruce was TRYING to help Dick specifically BECAUSE they shared this particular overlap of purpose - like the bottom line is, nothing about Robin CAME from Bruce. Or Dick’s feelings about Bruce. That....didn’t really even exist yet, at the time he created Robin. Everything about Robin, other than the physical costume itself, not even the design just the actual creation of it....all of that came from BEFORE he met Bruce. None of it was thoughts or feelings derived from BRUCE. Its the whole reason Dick was never Batkid or Batlad, or any derivative of Batman.

It all, ALL came from what Dick came to the manor WITH. Remnants of his life with his first family.

So the fatal flaw of Bruce’s reasoning that by not broaching the subject of adoption with Dick before well into adulthood, he was actually just respecting Dick’s relationship with his first parents and not trying to come between them and Dick’s memories and feelings about them....

All of this is inherently undermined by Bruce’s own actions.....when by repurposing Robin to ANY degree, even just to give the mantle to Jason.....this meant that he was inherently viewing Robin as being more about being Batman’s partner, HIS partner....then it was about being Dick’s heritage, his last intangible keepsake of his first family and life BEFORE Bruce.

In effect....Bruce making Jason Robin or firing Dick as Robin, either way....both betray Bruce’s OWN alleged intentions for only wanting to respect Dick’s relationship with his parents, and that being why he didn’t want to overstep by trying to impose or even ask for his own official parent/child relationship with Dick. Because that’s exactly what appropriating the Robin mantle was. It was Bruce ignoring the relationship Dick had with his parents and their memory and the fact that Robin was directly born of that....and making Robin entirely about Bruce’s OWN relationship with Dick, heedless of any other factors.

And the second Bruce did that.....his entire justification for not raising the adoption issue....disappears. It goes away. Because you can’t claim inaction being just a result of not wanting to disrespect something you’ve already voided respect for. No matter whether Bruce INTENDED it or not.....by crossing this boundary, Bruce already acted against Dick’s feelings in this regard and well, disregarded them....which makes claims of Bruce not raising the adoption issue pretty much JUST self-serving at that point. Its an alleged viewpoint of Dick’s that Bruce largely just ASSUMES....and only ultimately respects - in direct contrast to how he didn’t respect the associations Dick had with Robin - because it aligns with something Bruce ALREADY wanted to do, rather than what Dick actually wanted. It provided justification for Bruce to just....not have a conversation he was afraid to have. And that’s about Bruce at that point. Its not about Dick. Its just like...not.

2) Another example of this that is not unique to just Bruce, but recurs frequently in both canon and fanfics in Dick’s dynamics with other characters he’s close with.....is characters not apologizing for things they’ve done to Dick or raising the issue of things they did a long time ago but never apologized for....while claiming to do so because they thought DICK didn’t want to talk about it.

THE FATAL FLAW (in my own personal opinion. Nuances and variations may not be identical at all store locations, please see your local branch for details):

The particular problem I have here is that....Dick never ever ever in the history of ever and also the before ever time.....has EVER expressed a desire to avoid confrontation.

Like. That’s what he DOES. That’s his JAM. That’s literally CITED time and time again as one of the reasons he’s viewed as more of a people person and natural team leader than Bruce and other Batfam members....because he’s not afraid to cut straight (or bi) to the heart of the matter and air out a dispute.

In fact, this very character trait is one of the ones most commonly utilized AGAINST Dick in various depictions of him, as he’s often cited as TOO confrontational, TOO eager for a fight or conflict especially when his temper is engaged, such as when he’s well....personally hurt or offended.

So how does it follow, then, that avoiding tough conversations ONLY when its on the OTHER person to INITIATE, because they were the ones who DID the wrong-doing and Dick the subject of that rather than the instigator....how does it work, exactly, that these are the only times in which we DON’T tend to see a direct conversation about the harms done and the fallout that resulted? With it being claimed that this is solely for Dick’s benefit, out of a desire to avoid pulling him into an allegedly unnecessary (but really just unpleasant) confrontation?

When the concurrent reality is that whether stated or acknowledged or not.....avoiding these specific conversations and ONLY these conversations (as there never seems to be a problem finding canon or fanfic stories in which Dick apologizes for harm HE’S caused to others or is clearly expected to).....this avoidance also carries the side benefit of allowing the character who DID something wrong to Dick to....not ever have to have that super uncomfortable conversation in which they actually verbally acknowledge the thing they did to him and the effects it had on him, and apologize for that.....and then render themselves vulnerable to actually hearing whether or not he accepts their apology or is still upset with them regardless.

While - as long as they DON’T ever have this conversation, for whatever reason - they can look to the clear and consistent precedent of Dick continuing to work with people who have done things like oh, I don’t know....punched him in the face cuz they’re mad at him (and this isn’t a Bruce critical point, this is a whole damn family critical point as the only one who HASN’T actually done this is Duke. Well, Cass technically just threw him out a window, but I mean, tomato toh-mah-to). Writers and characters both can lean on the fact that actually Dick has a pretty clear track record of ultimately giving up a grudge or at least showing a willingness to look past those grudges enough that it doesn’t prevent him from still maintaining or resuming some kind of relationship with the person who hurt him.

And thus, like Example Numero Uno......this ultimately just lets other characters off the hook while claiming to do Dick a favor, but actually Dick receives no real benefit from it and instead now just has another instance of characters saying “see we respect your wishes” when ultimately their inaction is MORE in service to their own wishes and self-interests.

2b) See also the variation of this in which characters such as Bruce, Jason, Tim and assorted others like....are written specifically determining that they’re not going to apologize to Dick or beg his forgiveness because they feel they don’t DESERVE to be forgiven, and once again....its in HIS best interests that they not even give him the opportunity to say he forgives them....because they know Dick Grayson of course, and they know he’s too forgiving for his own good, so its better to like....not make it ever a possibility in this particular instance.

With the problem here being like.....Dick can’t and shouldn’t be expected to KNOW that’s their logic? So....all he’s going to actually SEE is loved ones just....not expressing remorse for hurting him or acknowledgment it even happened? Which....hurts?

So......hurting your loved one MORE after already hurting them....because you don’t feel you deserve to be forgiven for hurting them in the first place and are actually PROTECTING them from being hurt more when mistakenly forgiving you.....by.....hurting and continuing to hurt them with your silence and lack of evident remorse....

Mmmm.....

Its not the best approach, y’know?

Flaws are detected.

3) Dick’s friends and family manipulating situations in order to get the end result THEY desire, while claiming to do so for his benefit only. Dick being willing to manipulate people to achieve his own ends comes up a LOT actually....but there’s relatively little examination of how often people do this to him, claiming his best interests but really just circumventing his clearly stated desires for independence and the right to make his own choices about what HE needs....or when this is brought up, its usually limited to JUST Bruce doing it, but uh....no that ain’t it.

Specific examples of this are like when Wally joins the 1999 version of the Titans specifically to get Dick to join up, because in his estimation Dick needs more of a social life and is drowning himself with his responsibilities....and then quits not long after Dick is finally officially invested in staying with the team. Another example is when Roy gets Dick to join the Outsiders based entirely on his pitch of NOT treating the team like a family, like they did with the Titans, so that Dick could keep emotional distance and not be as worried about losing them like he suffered from losses like Donna....with his claim again being that he worried about Dick in the aftermath of that loss, etc.

And to be clear! Its not that I think Wally and Roy and others who do similar things have NEGATIVE intentions in mind for Dick. That’s the whole point of this post.....like the other examples, I fully believe THEY believe (or writers believe when writing them this way) that they have Dick’s best interests in mind and not their own. I just....disagree.

THE FATAL FLAW (at least as I see it here):

Is that I view this and Batfam members who do similar stuff as like.....falling into the trap of the savior friend complex. Its that thing when you see a friend hurting, and over time get FRUSTRATED by seeing this when a solution seems obvious to you but think they won’t take it because they’re too stubborn or don’t know what’s best for them....with this specifically recurring a LOT with Dick in particular, due to his core characterization of wanting to be the one to make his own choices. The problem here, same as the problem with the savior friend complex....is that it treats the subject of these views as like....incapable of determining what they need. Its a tacit condemnation that they actually don’t know how to cope with things and are doing it wrong - even though the ones making this assessment will never be the ones actually having to LIVE with the outcome of their meddling. Its the conviction that someone like Dick needs to be HANDLED, for his own good....because he can’t be trusted to KNOW what he needs, not as well as them at least.....and so they jump to manipulation rather than just....ASK him what he needs, or HOW they can best support him, or even just WHY he’s making the choices he is.

For instance, the problem with what Wally did was never that Dick wasn’t struggling. He was. He was drowning in his responsibilities, he had very little to no life outside of them.....Wally is not remotely in the wrong for WANTING to do something to change this situation. The problem is Wally basically defaulted to just...HANDLING his friend by restarting the Titans just to give Dick a social life again, which is pretty much a line straight out of the comics...and basically railroaded right over Dick’s initial ‘no’ when he first heard the proposal. And kept pushing things until Dick eventually joined up in order to get Wally to commit to the team too, because Wally spun it as though Dick was helping Wally by getting Wally to commit to the team for the very same reasons Wally wanted Dick to. And then....right after that, Wally quit to go back to just focusing on the Justice League, which was part of what Dick predicted would happen all along.

The thing was.....at no point along the way did Wally actually ask WHY Dick initially said no....he jumped straight to assuming his own view of the problem, that Dick just COULDN’T be made to ever see the reason to take a break occasionally and put his mental and emotional health as a priority. If he’d done this, Wally could have had dozens of other options to achieve his desired end result....he could’ve like....set up regular hangouts with Dick.

But Wally jumped to assuming he knew the answer, he knew what was best for Dick, and that Dick’s logic was inherently self-destructive and self-flagellating.....and he felt the solution was to bring back the Titans, as he recalled their earlier times as Titans together as a time when Dick was better able to balance his social life and responsibilities.

But by not ever stopping to LISTEN to why Dick felt the way he did and was initially opposed to rejoining the Titans....Wally overlooked one crucial fact: He isn’t Dick.

And more important, his view of the past wasn’t Dick’s view of the past.

Wally was a lot more capable of viewing the Titans as not just a family, but an inherent social life, a hangout, a kind of club....because that’s what it had always been to him.

But he’d never been the leader.

Throughout all their childhoods, the whole time the Titans WERE all of the above, and relatively light-hearted in comparison to their older selves....Dick STILL had the weight of responsibilities that none of the others had by virtue of just...not being the leader. Ultimately, all of their lives were in HIS hands. He was the one calling the shots. The buck stopped with him.

And this is precisely WHY Dick had gotten to the point he had in adulthood. It wasn’t because he’d changed. It wasn’t because he’d stopped figuring out what he needed and how to take care of himself. Its because the position he’d ALWAYS been in as leader....has WEIGHT. That eventually added up more and more and weighed him down. A huge part of the reason Dick had ended up leaving the Titans in the first place, before they disbanded prior to the 1999 revival....is because of the sheer WEIGHT of all the deaths and misfortunes that had befallen the Titans....and how much he and he alone struggled with it in ways the others didn’t....because they didn’t have to. It hadn’t been their plans, their calls, their RESPONSIBILITY to find a way the others could have all made it out alive or at least less traumatized.

So.....of COURSE Dick said no when Wally first proposed restarting the Titans, before Wally defaulted to using his own membership as a lure to get Dick to agree.....because......nothing about the above paragraph had changed, via Wally’s ‘plan.’ It wasn’t because Dick just didn’t KNOW how to be a fully rounded person....it was because nobody was helping him find actual OPTIONS for doing that....that didn’t just double as MORE responsibilities! Because that’s exactly what ended up happening! Dick wound up the leader of the Titans again, just as responsible and just as invested as always.....just like he always knew he would....and also as he knew would happen...Wally ended up quitting not long into it and persuading Jessie Quick to step in as his replacement....aka just one more person for Dick to worry about when it wasn’t like he was going to be worrying any less about Wally, just now he wasn’t going to have Wally there to even POTENTIALLY be able to support him when tragedy inevitably struck because they’re freaking superheroes....and instead he’d just have another person looking to him for the answers but with no reason or chance of being the support Dick could ACTUALLY use at times like that!

Wally’s manipulations circumvented Dick’s opinion that no, actually he knew what was best for him and it wasn’t what Wally was suggesting....without actually accounting for the fact that hey, Dick might actually know that. And in the end, Wally got the result he was after, he got to feel that he’d HELPED his friend....which again, this isn’t WRONG to WANT to....but Dick didn’t...exactly....benefit from this. It wasn’t actually in his best interests ultimately.

I mean...see Donna’s death for details.

And in the aftermath of THAT....Roy essentially did exactly what Wally did....just in REVERSE! Roy got Dick to agree to lead the Outsiders, to shoulder responsibility once again....by promising that Dick WOULDN’T have to view them as family. And did Dick go too far and end up TOO uncaring about their welfare? Yup! No disagreements there! Problem is though....he only ended UP in that situation because yet again a friend thought they KNEW the solution to what Dick needed.....only for Dick to end up essentially punished and further self-blaming....just for doing exactly what Roy had told him TO do, with this particular team. Again - Roy hadn’t EXPECTED Dick to take it this far. But that’s the whole point! Roy had expectations about what Dick would ACTUALLY end up doing, that didn’t match up to the pitch Roy actually gave Dick to GET his agreement.....because Roy all along was of the assumption that by virtue of being Dick Grayson, he wouldn’t be ABLE to avoid connecting with these new teammates and viewing them as family, and thus he’d end up ‘snapping out of it’ with it being the funk he’d been in since Donna’s death.

Roy’s intentions might have been noble, once again.....but his methods stuck to the same pattern of people around Dick believing they knew what he needed or knew who he was or knew what it meant to BE Dick Grayson....better than Dick actually did...particularly when Dick said no, this isn’t what I need or this isn’t a good idea or just...I don’t want to do this.

And in the end....its Dick who ended up paying the price for it, as well as the people who got hurt because of his INTENTIONAL emotional distance.....because the ‘view all surrounding people as new surrogate family’ aspect of the Dick Grayson Experience hadn’t kicked in as Roy thought inevitably would....but the ‘view all this as directly my fault and suffer guilt for it forevermore’ aspect of the Dick Grayson Experience most certainly did! Not at all actually helped along by the fact that like....Roy also expressed frustration with Dick that like.....Dick hadn’t actually responded to Roy’s intended manipulation of his emotions the way Roy had expected him to when he EXPRESSLY TOLD DICK TO BEHAVE THE WAY THAT DICK ULTIMATELY BEHAVED. (Just, he didn’t tell Dick to dial that all the way up to Extra, but given that’s the only setting Dick does ANYTHING at, I feel its a possible outcome Roy should have at least considered. I mean, wasn’t the whole point that you know Dick Grayson better than he knows himself?)

But lo, I am salty.

LMAO, but I mean, you get it right? Obviously, I LIKE Wally and Roy. I LIKE Jason, etc. I’m not saying all of this to be like ugh how dare these characters do all this to Dick....I’m saying it because like.....they all keep falling into the same patterns of making a big fuss and acknowledgment of how much Dick prioritizes being able and free to make his own choices and decide what’s best for him and what HE wants.....

But without ever like....actively asking him AT THE RELEVANT TIME....what he thinks and feels about all this. What he thinks and feels he needs. What he ACTUALLY wants from them, or why he’s ACTUALLY saying no to something and maybe it being for reasons that aren’t just him inherently being stubborn and self-destructive.

And instead just defaulting to falling back on whatever he might have said or expressed in an entirely different context at an entirely different time.....and saying okay, by doing so, we are abiding by his wishes and thus doing what he wants and respecting his right to make his own choices.....

But ONLY when doing all of the above just so happens to align with these other characters then getting to do the thing or take the approach they’re already predisposed towards wanting to take because of their OWN self-interests at the same time.

With this never actually coming into play when respecting Dick’s wishes aligns with them taking actions they DON’T personally want to undertake, because it makes them uncomfy or they think its a bad call, even if it is something that should be his call to make.

Like....the pattern. It very much exists. And abounds. Like I could cite examples allllllllllll the way up to Ric Grayson, where Bruce respected RIC’S wishes to be left alone and not interfere in his life no matter what.....in ways Bruce almost never respects Dick’s actual expressed wish for Bruce to butt out of matters when Bruce is actually quite keen on meddling and would very much like to....

But notice how the other thing about the Ric Grayson storyline is that Ric’s expressed desire to stay the fuck out of vigilantism and superhero work, like.....just so happens to align with Bruce’s longstanding desire for Dick to like...get out of the vigilantism and superhero work? With butting out of Ric’s life and respecting his privacy in ways Dick has to FIGHT him for, like......absolutely the optimal action to take in order to allow this expressed desire of Ric’s to flourish in the ways Bruce always wished would kick in for Dick?

.....just saying.

The pattern. It abounds.

And the key to breaking any pattern, of course, is to first recognize....and acknowledge....that it exists.

Otherwise you tend to fall into the trap of repeating and perpetuating it over and over without even realizing it, simply because its what’s familiar.

This has been A Post by Me. Thank you and have a nice day. Or don’t. Idk. I’m not the boss of you. Whatever.

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marvelsbanner · 4 years ago

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Body, Mind, and Soul

Prompt: there simply needs to be more vision fic out there🥺 may i request a cute one where you've been going out for a while but the big L word hasn't been said yet and vis is just.. trying his best to tell you but doesn't know how🥺🥺 he's just so cute like that😭❤️ kissy i love ur stuff

Pairing: Vision x reader

Warnings: Slight language, tooth rotting fluff - beware of cavities

Word Count: ~1700

A/n: Reblogs, likes, and feedback are very much appreciated! <3 All mistakes are my own!

**I do not own marvel, sadly** **not my gif**

“Darling, may I speak with you for a moment?”

Vision phased through your walls to where you were sitting on your bed reading. Months ago you would have jumped straight out of your bones, startled by the synthezoid’s intrusion and lack of personal boundaries. In all honestly, it was no sooner after you had explained the concept of privacy and simple manners to Vision that you had come to look forward to his visits, not caring if he was intruding as long as he came to see you at all.

It was strange, you’ll admit- very strange. You were the newest Avenger recruit, and the youngest (if you didn’t count that he was technically born a little over a year ago? He had the wisdom of a thousand year old sorcerer, so you didn’t think of him as younger) and so he had a naturally protective nature about him when it came to you.

He always tried to be by your side during missions, saving your ass on multiple occasions. He never made you feel weak or like you needed protecting, but he was just always there for you. Not just in missions, but in everything. Joining the Avengers was a life changing decision that was not easy in any sense. You didn’t exactly have the prettiest past, which is partially what landed you there in the first place. You knew that none of the members there were exactly saints, but you couldn’t help but feel like you didn’t deserve the new chance at life you were given. Not to mention you had been hearing about the Avengers for years now, and in your mind it was hard to take them off of this pedestal of superhero-assassin-gods to simple coworkers and family.

Vision could sense your uneasiness, they all could really- but he had no filter and no sense of boundaries and was the only one to confront you about it. You were taken aback at first, but it was truly exactly what you needed.

He would bring dinner to your room, offering to sit with you as you ate- even though he didn’t need to himself. He brought you DVDs, claiming Wanda told him that they were what lifted her mood. When that didn’t work he tried bringing some old records that Tony recommended, eventually bringing some books from Steve’s “project modernization” stash that peaked your interest. Some nights he would sit with you as you read, reading over your shoulder or watching something on the tv, just content to be in your presence. You never asked him to, and you never asked why, but you also never asked him to leave.

The dynamic between the two of was certainly an unlikely one, Steve even asking you at one point if he needed to tell the Synthezoid to back off before you assured him that it was fine.

Somewhere along the way you found yourself falling for Vision, utterly terrified and mortified over the uncertainty of if he could even feel those kinds of feelings towards anyone in return. But then you would hear him laugh at one of your jokes, a real hearty laugh when the joke wasn’t even that funny- or that smile, that god damn smile that stretched across his entire face with those pearly whites that made your heart flutter in your chest, or even worse- the small, shy smile that he would give you when he didn’t think you could see him that brought a faint blush to your cheeks every time. It was in those moments you let yourself feel a slimmer of hope that he could maybe, just maybe feel the same way.

He eventually figures out that he feels the same as well, after a long conversation he had with Tony and Bruce over whether those feelings should even be possible for him or not. He decides that whether or not he should be able to, he most definitely did, and suddenly fleeting glances and stolen cozy nights turned into hands intertwined under the table during meetings and stolen kisses in the compound halls.

A year later and everyone knows that it’s never just y/n or Vision, you get the both of you or neither of you, because you were a team.

About a month after the two of you had confessed your feelings Vis had asked you to “go steady”, it was adorable really- he said he saw it in a movie and thought it was what most human couples still did, and he was so nervous and flustered and cute you couldn’t help but say yes.

Boyfriend and girlfriend, partners in crime, lovers- whatever you wanted to call it, you were. The labels didn’t matter, all that mattered was that you knew how you felt about each other. At least, you hoped you did.

Vis had been acting strangely lately. He seemed more nervous around you; he was stuttering and losing his train of thought- he would sometimes act like he had something important to say and would end up saying nothing at all. Sometimes he would bring you flowers out of nowhere or prepare a meal he knew you loved, just to disappear for the rest of the night and you weren’t sure what to make of it. Sometimes he would babble on and on about some sort of poetic metaphor and ask if you understood what he meant and when you didn’t he would just tell you to pretend he said nothing at all.

So there he was, phasing through your wall and asking to talk and you could see a large bouquet of roses behind his hand and you weren’t sure whether to be excited or scared or all of the above, so you simply dog-eared your book and set it aside, patting the empty side of the bed next to you for him to sit.

He settled on the floor before walking over to the side of the bed and sitting, revealing the bouquet of flowers fully before shyly offering them to you.

“I was informed bouquets are a romantic gesture appropriate for such occasions” he explained, hands fidgeting as he spoke, not making eye contact with you.

“And what occasion is that?” You inquire, quirking a brow at his behavior.

“Ah yes that, right, well..” He started before opening and closing his mouth a few times, unsure of how to go on.

“Darling, I don’t have much to go on with this in terms of past experience- this is all very new to me as you know, however, I have come to understand that there is a certain point in relationships, romantic relationships that is, where the feelings that one has for the other might start to change.” He explains, fingers continuing to fidget and pull at another.

“Vis.. if this is you wanting a break from me, from us- flowers don’t exactly portray that message clearly..” You reply, anxiety beginning to settle in your chest.

As soon as you say that, any worries at what he could be implying flood your mind as his face fills with distress.

“Oh no- darling, no, that’s not what I was getting at at all!” He hurriedly says, setting the flowers on the bed and taking your hands in his own. “No no, it’s quite the opposite actually! See, I’ve been wanting to tell you this for quite a while, months even! But I wasn’t sure when a good time would be, and no article online could give me a set answer and I didn’t know how you felt- I thought I did sometimes but other times I just couldn’t be sure and then on this last mission when you almost got hurt and I couldn’t bear the thought that-“ you cut off his rambling by taking his cold face in your hands, “Vis hunny, slow down. What is it you want to tell me?” You ask, finally getting him to meet your eyes. He looked more nervous now than he had been for any mission in the past.

He hands came up to rest atop your own on his face, intertwining your fingers together as he spoke softly, “Well darling, I just- I just thought, we’ve been together for quite some time now, and I think I can safely say- maybe- I hope- that neither one of us want to be letting this go anytime soon and I, well I just thought you ought to know that I love you.”

A smile immediately pulled at your lips, you had been so afraid just a moment ago that he wanted nothing to do with you and there he was, telling you that he wanted everything to do with you. You wanted to say it back, you wanted to scream it out but he was sitting there with his big anxious doe eyes and a small, nervous smile as he awaits for your answer and suddenly all your words fail you- so you pull him in to a kiss instead.

It was sweet but not chaste, lips firmly planted against each other as you fought the urge to cry because he was so perfect and you felt more loved than you had ever felt before. Your hands clutched the sides of his face as he planted his on your shoulder blades, bringing you closer to him but never too forcefully- always giving you the option to retreat, but you never take it, and you never will.

The two of you finally part, gasping for air as he searches your eyes to gouge your reaction and finds a singular stray tear, chasing it away with a swipe of his finger.

“So, may I assume that this may be reciprocated?” He asks shyly and you laugh, the two of you laugh together with big smiles and open hearts and you assure him “Yes, Vis, I love you, I love you too. Body, mind, and soul.”

“Body, mind, and soul.” He repeats, a smile forming at his lips before he pulls you in for another kiss, the rest of the world melting away until it felt like only the two of you, like it was always meant to be.

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the-obelisk · 4 years ago

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By The Fire -- Fae Collection

Loki x Reader

Summary: Fireside conversations between you and the trickster.

“There you are. Where have you been?” You noticed Loki in the library/work station Tony had built for you after noticing the mess you lived.

With all of your books being crammed in the corners of you room; And the the added mounds of paper Tony would see spread all over the common room, he was sick and tired of seeing it.

Or worse, for him to have to deal with you asking FRIDAY a hundred times where you left your book or papers. And once Loki moved into the compound, you had even more access to a plethora of new books that he slowly moved into your library space.

For the both of you, it was the place you often ran to for silence from the chaos that seemed to lurk the corridors of the compound.

“Loki?” You asked quietly noting that he sat on the floor, his book casually off to the side. Something about him felt off, therefore, you took a seat next to him on the floor and faced him slightly.

“What happened?”

He took a minute to respond. Sighing, he looked at you and just offered a weak acknowledgment. “I miss my home. As strange as it might seem, I miss being able to hide away.” You listened at his soft voice. His eyes turned back to the fire, “I miss my mother.”

You nodded. You knew very well that Loki was homesick. With his mother dead, there was no reason to return home. Asgard was no longer home to him. Instead, it was better he remained on Earth rather than his childhood realm.

You wrapped your hand around his and leaned towards him, finding your other hand at the back of his neck. Your fingers ran softly through his hair, you projected emotions of comfort towards him.

He smiled at the comforting presence you offered him.

Loki looked at you, rubbing his thumb against the back of your hand. “Do you ever feel out of place, Y/N?”

You looked at him, seeing the softness in his eyes made you want to wrap your arms around him and tell him to not feel so alone. “I do. When I am here— some of the times.” You spoke in a tone matching his own.

He looked at you quizzically. It was a response, he didn’t anticipate. You seemed to flow so easily with everyone in the compound. Always talking and laughing with whomever you were in contact with.

What he didn’t know was that you often wondered what you offered to the table for such an elite force of individuals.

“How come?” He asked. Loki didn’t have the intention to open up, but it did comfort him knowing he wasn’t the only one that felt alone here.

Or rather, the only one to tell him that they too felt out of place.

You exhaled and shrugged. “I’m not like everyone else here— They all are experts at what they do. I’m still learning how to even use my powers, so I don’t excel like you or Wanda or even Vision. I can’t fight like Natasha or Cap.” You just pouted your lips and look at the fire.

“I try to make it my home, but this isn’t my home,” you sighed quietly, “It’s just an opportunity to help others while having the ability to learn more about myself, I guess.”

So with that, you trained in combat with Natasha, ran or sparred with Steve and Bucky, engaged in sparring lessons with your abilities with Wanda and sometimes, Vision. Then other times you found yourself in the lab trying to digest the scientific terms that spewed from Bruce’s lips and Tony’s demonstrations of his latest tech. Each one had a specific skill set, and when working with the others, created an dynamic force with the best of the best in their respective fields.

You wondered if you had anything to offer. You took to the artistic sides of life. Before being picked up by SHIELD for accidentally reading one of their agents thoughts— not to mention, an undercover one— you had worked as teacher, mentor, researcher. You wanted to understand the triumphs and pitfalls of humankind. Why they operated in their specific ways, how culture and religion shaped their motivations. You had questions, and when answered, you had even more questions develop.

And in many ways, you did the same with your team members. You were here to get it right, not be an expert. You wanted to know it all and even then, it became tiresome.

Loki peered into your thoughts, noting that you had once told Thor, during his visits back to earth, that it was hard to see what role you could play. You weren’t a fighter like the combat experts on the team, you weren’t a science geek-- you were simply you. Otherworldly, Y/N Y/L/N.

So what did you have to offer to the table?

Loki tuned out of your thoughts and smiled at you, “What did life look like before you got here?”

Smiling at him, you turned back to face him. Now with your body shifted towards him, and fingers still twirling the ends of his hair.

“I was a researcher, well— I guess I still am. I traveled to a bunch of places like Cambodia, Peru, Afghanistan, India, Madagascar. I wanted to learn their culture, and I offered help when I could. I usually worked in small villages to avoid the connection of my lack of aging. So, I worked with the locals there. They taught me their history— their way of life— and I would heal sometimes, help them with harvests, teach their children. It was peaceful, to say the least.”

Loki smiled at how your eyes lit up when recounting your brief account. He listened as you continued in tone filled with deep contemplation, “I often ask myself, why are there so many quarrels, and clusters of hate? Why were we created as we were and what is our meaning? I suppose because I never was able to learn about my own origin until Thor was able to give me further insight, that I finally received answers, but they didn’t answer my larger questions.”

“Why do you think you are here?” The raven-haired man asked entertaining her thought with deep interest at your words.

You quirked your eyebrow and laughed a little. “Perhaps to learn the lessons around me.”

“And what lessons would those be?”

“To understand peoples’ actions. To listen and to help. But most importantly,” You said in a soft tone while looking at him, “to uplift those who are learning lessons of their own.”

He knew that your last point was directed towards him. He nodded, “And what lessons are you assisting me with, little one?”

“Right now, redemption. Yours is to learn to forgive yourself and others. To simply, do better rather than apologizing and wishing to forget the past. You are facing it, something I admire you for. And one day,” You leaned a bit closer and gazed back into his blue orbs, “you will learn to love. Yourself, others, and hopefully, the world around us.”

Loki nodded and could feel the devotion roll off your frame. “I think you are too kind for this world.” He said quietly. It felt more like an observation for himself, but still you acknowledged it.

Running your fingers through his hair, you nodded and hummed in response. “Always be kinder than you have to be. There is more to others than you think, trickster.” You lightly tease with a soft smile and empathetic eyes.

The raven-haired man looked at you dearly and raised his hand to you cheek. Loki leaned to lay a kiss on your cheek. “I am grateful for you, my little dove.”

Instantly, you felt your nerves bundle in the pit of your stomach. To you, his touch seemed to ignite something within.

You ran your fingers through his hair one last time before resting your hand on his cheek. Pressing your forehead against his, you closed your eyes projecting another emotion— one of endearment that seemed to swirl within you towards him.

“I am grateful for you as well, Loki.” Kissing his nose softly, you looked in his eyes unable to read the emotions but they felt warm and gentle.

If Loki could have it his way, you could remain that close forever; However, he smiled at you and sat in the silence of it all with you. And sadly, soon he pulled back causing you to miss the cool touch of his forehead against yours.

“Sit with me while I read?”

You nodded in response as his hand left yours and slowly wrapped around your frame, pulling you closer to him. You positioned your back against his frame while he used the chair behind him as a back rest.

“What have you been reading?”

“A collection of poems from Vanaheim.” He spoke in a low tone as he held the book that hovered above your legs. His long legs laid outstretched around yours as you nodded at him to begin.

He exhaled calmly, flipping through the pages and started, “This one seems like a good place to begin...”

You sat there reading along the words that flowed from Loki’s lips in an entrancing manner. You fell in love with the way he narrated the long, winded poem with ease and comfortability.

If you hadn’t known any better, you were sure he had read this book thousands of times.

But you didn’t seem to care if he had or hadn’t. You were consumed with his emotions of safety and happiness he felt in that moment. For you, that was enough.

And for a little while, before the world would begin again, you enjoyed the quieted world that stemmed from his verbal inflection of the poems he read. Ones that created a mini-world between the two of you in the quiet library.

#loki x you #loki odinson #loki x reader #loki laufeyson #mcu loki #loki imagine #loki series #marvel fanfiction #marvel imagine #marvel #avengers imagine #loki avengers #avengers series #loki x fairy!reader #loki x oc

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ships-bynoa · 3 years ago

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The Titans are almost back, bitches. aka 3x06

Guys, literally every time the titans are together-or even paired up-the episode gets ten times better, but in 6 episodes there is simply not enough Kory and Gar. I can easily forget that when I’m basking in the episode they are in, especially when they’re giving us family dynamics.

Kory:

“You’re not mad that I left. You’re mad I came back.” Kory’s face tells us Blackfire is right on the money, and who would know her better than her sister?

So, Kory, oh boy. Our girl is on edge. She is slowly unraveling and is super vulnerable and raw with Kom around and little sister is going to exploit it and her guilt, which I think she’s carrying a lot of. So far their dynamic has been fascinating because there’s so much to read between them and so many accusations being flung back and forth, from both. From Kory; you sense guilt and even contempt and from Kom there’s envy and resentment, but also there’s a sense of idealization for her older sister, too, which of course, with younger siblings, there always is an element of that. And as an older sibling, there is always an unspoken and sometimes spoken responsibility placed on them for their younger siblings. Parents often don’t realize it, but they can create a lot of tension within siblingships by assigning roles.

They remember home and family very differently, which is often the case, too. Kom was often thrown in the pit and to that, Kory attributes her sister’s constant rebellion as the reason, and yet, Kory herself was a bit of a rule breaker, sleeping with her guard, Fiddei.

Kory was being suffocated by the laws and customs of her home planet; one could say she rebelled by going on a mission, to escape her duties. Home did neither of them any favors because while one rebelled because she did not fit in, the one who did fit in was dying inside, surrounded by little robots and becoming one herself. Being told what to eat, wear and who to love or be friends with is yikes.

I was thinking Kom began her game of manipulation in the bunker, but she really started before that when she sent Fiddei to bring Kory home when she probably intended to kill him all along. After all she would’ve castrated him if she’d had the chance to for sleeping with Kory in the first place. Shortly after Fiddei’s death, Kory flamed out. No powers. Emotionally wrung out from the news her family was dead and now the culprit is here. These two know each other very well and know exactly how to get underneath each other’s skin. Right now Kom is getting underneath Kory’s and our girl is losing patience fast.

I’m wondering when exactly Dick will tune into Kory’s anxiety-ridden state and step in to support.

Ultimately, I just want to see what truly happened to the girls on their planet and how we have the versions we have now. Like, Kory said to Rachel, “No one is born good or bad, we are defined by our choices.” I get the feeling Kory has given Kom so many chances to make a different choice and has become disillusioned, meanwhile Kom believes nothing she does will give her the respect she feels she deserves anyway, so she may as well blow shit up, figuratively and literally. At least then she’ll have Kory’s attention.

Gar:

Gar losing it on Dick was so cathartic and yet he could’ve gone much further, considering Dick abandoned him last season to go jail and hallucinate Bruce. It ultimately led to Gar (and Conner) being kidnapped and experimented on by Mercy. It’s actually all the adults fault this happened, but as the leader promoting his family everywhere he goes, he needs to keep his eye on the ball. He would know if he spent five minutes at home with them that Gar is struggling. Last season Gar was #OperationSaveTitans and this season he’s #ThisFamilyIsDying. He’s doing what the adults should be doing, or at least leading the charge on it. He’s the glue, but who will hold him together?

He’s carrying too much emotional responsibility and Dick’s dismissal, because he is fully locked into Gotham and being Batman, makes me mad. Get your head in the game, Grayson. Gotham is going to eat your family while you retread the nostalgic steps of your past.

We all know Dick’s not good at expressing himself emotionally, though he’s usually forced to express something when talking to or being confronted by Kory, so I was proud of him for giving Gar the floor to speak. I just wish Gar spoke about himself, but then again, he needs more time and consistent offers to be heard. I’m happy Dick followed up the conversation up with a bonding/training session. There was definitely pride in Dick’s face because Gar really has come a long way in this group, but he needs MORE SCREEN TIME. I’d like to see the two of them out in the field together the way we’ve seen Kory this season with Gar and Conner.

I wonder if Gar losing control is the start of all his trauma bubbling up to the surface, will being in Gotham, hunting down a friend be too much?

As a side, has the CGI tiger face gotten worse?

Kom (and Conner):

First thing’s first, what music are we thinking Kom listens to? Probably the kind of music she can break your tailbone to, like, Kendrick Lamar, J. Cole and Jay Z, or Prince, Jimmy Hendrix, Stevie Nicks and Led Zeppelin? Rihanna?

Kom is absolutely a villain this season and if she isn’t, what a waste that’ll be. A mastermind at mind games (see, her picking up the chess piece), who is going to drum up Kory’s paranoia and anxiety around her being there. Trying to kill her suspicion by guilt tripping her while simultaneously being a do good-er to the group, feigning interest in helping the Titans to earn her way in, a tip from our boy, Conner.

She says she wants acceptance and I believe that’s absolutely true, but she doesn’t know how to get that without using power, so she’ll continue to covet acceptance through and with power because according to Kory, she’s always been a climber. Add to that, being born the cursed child and the only royal member born without the gift of fire, something that differentiates them from the common folk, being too frail to participate in the same games as Kory, having a speech therapist be her only friend while being the object of ridicule and you have a villain origin story nicely set up.

I really enjoyed Conner and Kom’s exchange. The boy lit up when he spoke about seeing his family happy and it made me light up. He’s so genuine and has a big heart and Kom is going to take advantage of it, that’s not to say she won’t develop real feelings for him, but she can like him and still use him.

Conner’s “you have to earn your way into the family,” is perhaps an internal and personal struggle he has from sharing blood with Luthor. I think it may come from an insecure place because he was made a titan as soon as he woke up and no one questioned it, but as he’s only half of superman, he’s constantly trying to prove his usefulness for good, which losing Hank has rocked, leaving him vulnerable to Kom’s recognition for his otherness. Their otherness.

She gave us insight into her mind, but also she has likely seized an opportunity to use the vulnerability against Conner and to her favor by making him her kindred. Outcasts. Will she gain influence over him? He’s still young and learning, and trusting, too.

Her interest in him felt layered, ignoring the ugly customs of sex servants, she was also observing Kory’s relationships and ranking them in her sister’s life. Her being able to determine who may have Kory’s interest (which Kory gave away with her vulnerable display of worry over Dick’s welfare in front of Kom) will surely come into play at some point, right? After all, Kom did kill Kory’s last lover/royal guard. This may be me projecting. LOL.

Romantically, I’m waiting to see how they play it before I decide if I like it or not, but so far, they have a nice chemistry. Friendly.

Dick (and Barbara) :

What a lovable dumb ass.

I was so happy Kory lost it on him and called him on his lone ranger shit, at least when it’s her, even when he’s being an idiot, he’s still listening. “Let’s go.” and I thought it was hilarious that he tried explaining himself, but when Gar called him out, he got all huffy with, “Excuse me, young man.”

Gar asking Kory not to have words with Barbara over Dick getting shot was so funny because Dick’s face seemed to ask the same when she asked how it happened. We love a protective Kory. I’ll be looking at him when it’s his turn to reciprocate.

I don’t like him dismissing their concerns about his personal safety and how it affects them, it’s like he’s learned nothing after running off alone to battle Trigon, or rather has unlearned his lessons of S2. I’d like to see some more permanent emotional growth from him by this season’s end. In his current state, he’s not an exuding leader. He can’t be when he’s still wrapped up in Bruce and all things Gotham. He’s not tuned into Kory’s anxiety, or Conner’s grief and insecurity, or Gar’s emotional burden.

He’s started making it up to him, but he has much to do in taking Gar’s concerns and emotional needs seriously.

I’m not even going to try and work out the timeline between Barbara and Dick and Dick and old Titans in San Fran and S1. But it doesn’t bode well that Dick’s dream with Barbara ended in a nightmare.

I wish they’d never did the whole Dick and Dawn relationship in S2 because they’re basically repeating some of the beats in showing us how they don’t work as a couple, only his relationship with Babs makes a lot more sense even though I don't care. Dick has unfinished business with that relationship, Bruce and Gotham and I can only hope he’s wrapped it up for good by this season’s end. I want to see relaxed, smiling and happy Dick in THE PRESENT. I still Babs will be the one to notice and point out Dick's feelings for Kory.

Barbara (outside of Dick) is being downplayed a little, no? Dismissing Dick’s suspicions about Jason when he arrived, showing no knowledge of Jason’s visits to Crane and then taking the bait and moving Crane after he got a light beat down. A commissioner who was also a very capable vigilante is tricked by a recording and goes to meet “Bruce” on her own. I really enjoyed that she could hold her own and the fight scene was really good, but it was a bit baffling that she fell for that ruse. So far, she’s not entirely good at her job.

Dick’s a distraction in his own right and her feelings clearly get in the way, which is why she keeps asking him to leave the precinct and Gotham; because she’s pining a fantasy and he’s ruining it. Lastly, I really like the way Savannah plays Barbara.

Why’d they do that to Tim?? :(

Overall, it was a better episode and I enjoyed it more than latter episodes, but they’re not quite there yet for me. I’m still waiting for Team Titans.

#dc titans #kory anders #koriand'r #stafire #gar logan #beast boy #dick grayson #nightwing #conner kent #superboy #noa posts

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why-this-kolaveri-machi · 3 years ago

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we are our family, even if we don’t want to be.

Titans 3.07

a bit over halfway through the season, and we still don’t have all of our main characters on the board! i love this show.

as always, typing this up as i watch. live reaction, baby! *shadowboxes*

SPOILERS AHEAD

1. i don’t think i’ve mentioned this before, but i kinda miss the old ‘dc universe’ intro. it was cool! the whole idea of it was wild and waaaaay over-ambitious, but also very very on-brand because of it.

2. this is... the third time we’ve seen dick sleeping this season? that’s a record! checking another thing off my s3 wishlist...

2.5. i guess i rag on titans all the time for its wafer-thin plotting and bad pacing, but i have to admit that this season has been a step-up from the last one in this regard. titans has very reactive rather than proactive protagonists, and a lot of the last season seemed to be: x happened, the team reacted badly, then y happened, they reacted badly, etc. this time around, it’s not a huge leap up by any means, but at least they’re doing something about it.

i do appreciate the focus on character arcs over everything else. and when i say everything else, i mean it: arcs that started two seasons ago with no big cathartic moments, intermittent payoff and multiple relapses. big bads have ranged from interdimensional demons to superpowered assassins to whatever in the world scarecrow is, but trigon’s big weapon against the titans was to... use their worst fears against them. slade’s was to... use their fears to break them up. crane’s is to... use red hood to use their fears to break them up. even the threat of gotham’s citizens being in danger doesn’t feel real: gotham is mythologised into an entity of its own, infecting our heroes like a parasite. like. this is not to say that most other superhero media aren’t big character arcs intertwined with the main plot, but titans doesn’t even make pretend that it’s anything but.

anyway. that’s my entry #2345 to ‘give a grand unifying theory for titans’. thanks. i’ll be back with more.

3. “anger is just fear in a little black dress.” god I HATE HIM

(what’s he doing with barbara’s likeness? oh... oh god. a terrible thought just occurred to me. what if they introduce hush at the very last minute for plastic surgery shenanigans? would you put it past this show?)

3.5. jason, nooooooooo

3.75. i mean, they’re making it very clear here that scarecrow is the one in control--the one who’s always been in control--and is manipulating jason and literally poisoning him, but i hope it doesn’t end up erasing nuance or jason’s autonomy. if jason’s to reckon with the issues that brought him here, then the lines of responsibility will need to be set somewhere.

(this applies to dick as well but more on that later, i guess.)

4. just--the phrase “40% loss of income” is so funny to me. like, gotham is full of these larger-than-life characters who are idiosyncratic beyond belief, colourful and dramatic and creating chaos just for the sake of chaos, and then there’s the regular criminals and their henchmen who just want to make a quick buck sitting down with pie charts and graphs, griping about the joker reducing their returns or debating high risk investments in, i don’t know, two-face’s next scheme.

“yyyyeeeeeaaah, my financial advisor is telling me that going all-in with a guy who literally makes decisions on the flip of a coin is probably not the greatest idea.”

4.5. god i hate smug!smarmy!scarecrow so much

4.85. as big plans to “control” gotham go, it’s pretty bog-standard. clearly scarecrow has some bigger plan in mind but it really feels like we’ve got no clear insight into him and he’s this generic creepy mystery-man who knows more than he lets on and springs a twist/cliffhanger every now and then. i liked the scenes with him and dick in 3.04 where it seemed like he was genuinely on the backfoot and things weren’t going as he predicted. for all of his faults, dick is at least familiar with scarecrow’s bullshit and knows not to give what he wants.

5. i mean... i see where dick is coming from with the “he’s not jason anymore; he’s red hood” because his immediate glaring concern is scarecrow’s drug and the damage it could potentially cause gotham? i do not doubt that it’s something batman drilled into him, too, but when you’re expected to take point on a situation where the lives of an entire city weigh down on your shoulders, it’s better to simplify things and prioritise. i’m not saying it’s great or healthy! gar is absolutely right to consider this facet of the situation. it’s just dick can’t.

6. hmmmmmmm. HMMMMMMMMMMM.

i don’t know that i’m super fond of this iteration of oracle???? it looks like a cross between cerebro from x-men and jarvis from iron man. it’s giving me second-hand embarrassment. somebody help me.

(at least they remembered dick’s middle name is actually “john”. i like to think bruce printed D in that contract because for a while he genuinely thought richard “dick” grayson was his full name. duck duck goose, dick dick grayson, i don’t know alfred, the kid was in a circus, maybe they thought it was funny. or maybe it was a test in anger control, who knows.)

6.5 “maybe you two would like some time alone?” even AI can’t help hitting on dick grayson in this universe.

“oh mr grayson, if i only had another eye to see you better...”

6.8. on one hand, it’s a bit disconcerting that the title of ‘oracle’ has gone from barbara herself to this gigantic machine; from my impression of the comics-verse, barbara had an extensive computing and surveillance system, true, but she was very clearly the brains behind the operation. on the other hand, i’m kind of glad that the ethical boundaries that this kind of surveillance violates is a sticking point for barbara. (tho let’s be real, the nsa would kill to have this in their arsenal).

6.9. also it’s now obvious that scarecrow’s big plan is to take control of oracle itself. it’s why he had lady vic take that picture of her eyes, or why he’s meddling around with it on his computer.

6.95. if only i could ‘command sleep’ anybody overstepping their boundaries re: personal information...

7. “you can just sit back and watch as the titans destroy themselves.” i mean... he’s not wrong

8. “dick’s parents were killed by a criminal mob; he won’t work with them.” it’s wonderful that you have this insight into dick, kory, i just wish we could’ve watched some of these conversations actually happen on-screen.

8.5. i’m glad that kom’s being treated with such nuance and understanding, though it’s obvious that she definitely has a Plan of her own. (and did i entirely imagine her ability to mimic other people flawlessly at the end of s2? or is that going to come into play at some point?) i think her story has the potential to be genuinely poignant, and in a universe where being Different, either because of mental health or physical differences or whatever else, leads a straight line to Evil, it’s important to acknowledge and then emphasise that the mere fact of your existence as a Different Person doesn’t predispose you to evil. maybe your act of destroying a system that has destroyed you and not scrambling to “fit in” is only evil as defined by that system.

8.8. “you’re trespassing, i should call the authorities, i feel unsafe.” now this is a villain lady who’s definitely aware of her privilege.

8.85. kom smirking knowingly at her sister is everything.

“oooh that’s the kory i remember”

9. conner and dick working together woo!

9.25. god i hate a villain who’s always just a step ahead, no matter what. so crane anticipated dick using oracle to track his personal communications and set him up? how did he know when exactly dick would get to do this? how long did he have that poor man tied up in that van?

(the “save me, grayson” is a nice touch, tho. send dick spiralling even further! because if there’s one thing dick will do, it’s take responsibility for every goddamn thing that goes wrong.)

9.5. ahem. i’m going to need a million gifs of conner yeeting dick across that yard, fandom, thankyouverymuch.

(i understand conner is invulnerable to explosions, but how do his clothes survive??)

9.8. oooh crane is already in oracle! i’m just sitting here laughing helplessly because they’re overpowering this goddamned guy so much. he can build a lab in arkham’s basement! he has access to lazarus puddles! he has minions working across gotham, including a fully functional chemical laboratory staffed by chemists who only answer to him! he has the crime families of gotham quailing in his very presence! he has assassins at his beck and call! he’s enough of a manipulative bastard to have red hood under his thumb! and now he has enough of a tech know-how to not only be aware of oracle, but know how to hack into it! i’m sick of exclamation marks! i’ll shut up now!

9.95. dick leaving behind that smouldering grave for a person he failed to save without taking a second to process how he feels about it and running towards his next plan to corner scarecrow: a microcosm of where his head’s at right now.

10. really hammering in the themes of this season, aren’t we.

10.25. the interesting thing is the titans repeatedly call themselves a family this season (none more so than dick) and while that found family has helped encapsulate and put away their traumatic experiences with their ‘original’ families, it’s meant that they’ve not really dealt with those issues. and dick and gar and jason come from ‘found families’ of their own: they are twice removed, traumatised two times over. they still cling to this identity however, and because of it they’re losing each other. a family isn’t static. it’s an ever-evolving dynamic and you have to put in work constantly to keep it healthy.

10.5. anyway, that’s entry #2346. i’m here aaaalll night.

11. lookit gar the detective! half-transforming and using his powers to deduce things! what a hero! i’ve said this for a long time, but gar is the bedrock of this team, and an unsung one at that.

11.25. i’m confused about him calling this room jason’s though. it seems to me that this is dick’s room that jason later used, and one that dick’s using now. so the unmade bed isn’t really jason’s fault; dick was woken by barbara that morning, and in his hurry, he left without making his bed.

(it still confounds me that bruce didn’t find jason another bedroom in that gigantic mansion of his. you really didn’t give this kid a chance, did you?)

12. oh well. so much for the oracle.

13. ... sorry, wait. you didn’t think i wasn’t going to address the bit with dick right now, did you?

12.5. i honestly don’t think it’s very complicated: dick’s been reeling from one traumatic thing to the next, and just when it seemed like at the beginning of the season, he felt happy and secure with his team and his place in the world, bruce ups and leaves gotham to him, specifically naming him a successor and calling him a ‘better batman’. he’s lost garth and jericho and donna and jason and now hank and dawn. he’s not even sure where rachel is or what she’s doing. after being told that batman was a psychopath for moulding him into a weapon, he’s also been told that his failure to be a ‘better batman’ lead to further disaster. of course he’s going to get batman-goggles. of course he’s going to be a prick.

12.8. i don’t know what to say. i feel his frustration acutely. i don’t think he should’ve said what he said to barbara (can people stop pushing her around this season????) but that pressure to step in where your parent fails? to clean up their messes and try to think like them? to fall into habits drilled into you when you developed them as coping mechanisms growing up? I FEEL THAT.

every step he’s taking he’s putting 110% of himself in it and scarecrow’s still playing mindgames with all of them: i absolutely feel his desperation to take control of that game and turn it on scarecrow, no matter what it takes.

and he did apologise almost immediately, and finally--finally--actually works with barbara.

12.9. again, not excusing him! but i get it. and i think that’s a sign of great character writing.

“did you know i just reminded emmram of all of her daddy issues? what the fuck????”

12.95. i love that dick&barbara, kory&kom, and gar are all approaching solving this mystery from different angles, each as valid as the other. also, conner is there as... emergency bomb defuser man?

13. it’s like all fancy rich people in fancy rich houses do is pour fancy rich alcohol into fancy rich glasses on pristine, untouched tabletops. i wonder what it’s like to live like that.

13.25. I KNEW IT! poor michael. it was nice knowing you.

13.5. man, kory is contending with a lot of issues that she’s successfully bottled up and compartmentalised until now. the cold reality that a child can seek out their parents as refuge and they can view the child as a piece to be moved in a greater game (never out of cruelty, though, never, and somehow that makes it worse), that truth of blackfire’s treatment on tamaran because she’s different, and her own culpability in what happened. she exchanged one family for another, after all, and left that family to die and her sister to suffer. like dick, like gar, kory’s being forced to reckon with what the titans are meant to be, the larger implications of creating their found family in their own space.

14. it’s probably because it’s one in the morning and i’ve had two glasses of wine but i did not follow that bit of exposition at all and victor freeze??? what?

anyway. look at them solving things! together! go team!

“you made a deal with the mob?” oh the sense of betrayal on his face! fuck off, dick, your issues aren’t kory’s.

15. conner is really sweet and a bit of an awestruck crush on kom is to be expected. especially after that power rangers-esque transformation (i say this as a former huge power rangers fangirl. i’ve seen every series until 2007 including the original japanese versions and written fanfic for all of them. so i love a cool costume transformation, is what i’m saying.)

also?

FUCK YEAH

16. i love the gotham crime families just chillin’ around eating ice cream. I LOVE THEM

16.5. that was a fun fight sequence, if marred slightly by that bit of awkward flirting between conner and kom. i wonder if she’s really planning to use him in a larger scheme to get kory back to tamaran, or maybe something else.

16.75. so i’m assuming that scarecrow has jason either so paralysed by fear that he can barely move, or jason’s withdrawing from the drug that he’s been sucking in every few minutes.

17. it’s nice to see them chill after a successful mission! and it can be awkward, but conner’s crush on kom and him striving to impress her is also, well, uh... cute.

17.5. i guess the dick/barbara scene was inevitable, especially given the... unresolved nature of their relationship in the flashbacks? and they’ve been through a rollercoaster together this episode, discovering and then destroying an incredible tool within a matter of hours, re-discovering just how well they work together as a team. dick’s swimming in the nostalgia. i don’t expect it to last as a long-term relationship, but i totally get why this is happening now. and hey, they’re cute!

i have a weeeirrrrd feeling that kory is going to leave to tamaran at the end of the season and that dick and kory will rekindle--or rather realise--their relationship just before that. it’s going to be devastating and beautiful and painful and i will be writing essays about it which would be me just wailing into the screen.

18. gar found molly!!!!!!! MOLLY’S BACK! \o/ gar is the BEST

19. that was a fun episode! i love this silly show, even if it does destroy me sometimes <3

#titans #titans spoilers #meta #dick grayson #barbara gordon #koriand'r #komand'r #garfield logan #jonathan crane #conner kent #a byronic cupcake #badass strawberry truffle #manic pixie pop tart

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letterboxd · 4 years ago

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Third Language.

With her debut film Farewell Amor out now following a successful journey on the festival circuit, Tanzanian-American writer and director Ekwa Msangi tells Selome Hailu about the third language of music, growing up on knockoffs of the Rambo franchise, and her favorite African filmmakers.

There’s a subtle musicality central to the way Ekwa Msangi carries herself. She finds melodies in her words: “You hum the ‘m’,” she says when asked how to pronounce her last name. “Mmm-sangi.” And perhaps to a more subconscious degree, she speaks with rhythm, too: “I do think, and I know, and I can see…” she trails off, ruminating on how much hope she feels for the future of Black filmmaking. Naturally, this musical quality meanders into her work.

Farewell Amor is a quiet film, except for when it isn’t. Three Angolan immigrants revolve around each other in an awkward orbit, each trying to make sense of their dynamic now that they’ve left their home behind. Kept apart for seventeen years by the bureaucratic intricacies of war and paperwork, Walter (Ntare Guma Mbaho Mwine) is finally joined by his wife Esther (Zainab Jah) and daughter Sylvia (Jayme Lawson—soon to be seen as Bella Reál in The Batman) in New York City. But they don’t know each other anymore and spend much of their time in silence, until music and dance burst forward as a chance at common ground.

Msangi’s screenplay never dwells on the technicalities of the family’s struggle against the American immigration system. Instead, it plunges into softer, more personal after-effects of dreams deferred. Walter’s walls bear a faded calendar with Barack Obama’s face on it, even though his empty apartment complicates the “hope” the president promised people like him. When his family arrives at long last, Esther wears a silver cross pendant, having made sense of these years as a married-yet-single mother by drawing closer—almost too close—to religion. Sylvia barely speaks at all, caught between a faith that isn’t hers and a home that isn’t either.

Ntare Guma Mbaho Mwine and Nana Mensah in ‘Farewell Amor’. / Photo courtesy IFC Films

The film’s triptych structure emerged after Msangi spent months grappling with how to create a feature-length screenplay out of her original short film. “Having just come off of the short, I was focusing on Walter’s story. But [I] didn’t think that was the most original story I could tell,” she says. “And then, out of indecision between whether I should make it Walter’s or Sylvia’s story, I decided to just do both. Initially it was two perspectives that I was looking at. But I realized that Esther’s story was really the linchpin for both of their stories, and it wouldn’t make sense not to have hers.”

Giving Walter, Esther and Sylvia their own chapters makes Farewell Amor a stronger film than if it had followed a singular, traditional protagonist. Extreme conservatism in one chapter is revealed as a desire to avoid pain in another; one character’s cramped living room is another’s space to dance freely. Writing on Letterboxd, Tabby points out how the three-part narrative structure grants meaningful subjectivity to characters who deserve it: “It’s so easy for Westernized perspectives to steamroll over films that deal in cultural disparities and thematics, but Farewell Amor takes important steps in showing all sides of the story,” she writes. “It was refreshing to see [the characters] each given the space to exist.”

This layering of voices happens in the camerawork, too. Each section of the narrative is marked with a visual language of its own, complete with specific color palettes and cinematographic techniques. Msangi thinks fondly about the work she put in with cinematographer Bruce Francis Cole to make the chapters distinct. “For Walter’s, it’s sort of a slow cinema, where there’s a lot of still framing. It’s almost like he’s stuck, you know? Stuck in the frame between two surfaces, two hard surfaces, a window frame, a door frame. And in Sylvia’s, we wanted to have it reflect her livelihood, her restlessness. All handheld cameras, all movement. And then for Esther, she’s very observant. She’s been taking everything in, almost in an investigative style, but also a little bit romantic. She’s romanticized this setup, so a lot of close shots, a lot of soft lighting.”

Jayme Lawson as Sylvia in ‘Farewell Amor’. / Photo courtesy IFC Films

Music gives Farewell Amor a cohesion across the different storylines. “Music is, for these characters in particular, and for me, kind of a third language,” Msangi says. “It gives you a glimpse under the covers, what’s under the sheets.” The soundtrack underscores strong performances from Mwine, Jah and Lawson, lending depth to their quietude and vibrance to their movement. Msangi also notes how sound became a cornerstone of her collaboration with the actors: “As I was writing from different perspectives, in order to help me get into each character’s skin, I would listen to the music that they would be interested in.” She later shared these playlists with the actors, using the songs to communicate what words couldn’t.

Msangi has a good laugh as she tries to think about the major films that inspired her to become a filmmaker. “You know, I don’t have that. Well, I do have that, but not for the reasons that most of my film peers have,” she says. Growing up in East Africa in the ’80s and ’90s, little to none of the programming on television was local. What did kids watch instead? “We watched Rambo for probably ten years straight, and then Rambo knockoffs for another ten years after that. I decided to become a filmmaker because of horrible Rambo knockoff films.”

“I grew up surrounded by such colorful and delightful and interesting and funny people,” Msangi says. “And none of that was reflected anywhere in the media.” As she grew older, she sought out African films she couldn’t access in her youth. Now, they’re some of her highest recommendations. Ousmane Sembène is the first African director whose filmography she ever got the chance to dive into. Sembène’s 50-year career has garnered him the affectionate title of ‘Father of African film’ among many critics and scholars, who laud him for his dramas, including Black Girl and Camp de Thiaroye. Msangi, however, finds herself taken with his unique sense of humor. She has also been inspired by Safi Faye, another Senegalese director, who became the first sub-Saharan African woman to attain commercial distribution in 1975—and whose film Mossane portrays sexual intimacy with an openness Msangi hadn’t seen elsewhere.

Writer-director Ekwa Msangi. / Photo courtesy IFC Films

In Farewell Amor, Sylvia’s chapter reads like a compacted coming-of-age film. Msangi points to South African director Darrell James Roodt’s Sarafina! as an influence in that regard. “It was showing for two weeks in Nairobi, and I lined up for four hours to watch,” she says about the film, a drama about youth involvement in the 1976 Soweto uprising. “Even though it’s from a different part of the continent, I’d never seen young African teenagers on a screen before.” More recently, she has loved 2011 TIFF breakout and Oscar contender Death for Sale by Moroccan director Faouzi Bensaïdi, and Radha Blank’s The Forty-Year-Old Version is her favorite film of 2020. She’s hopeful about the future of Black American cinema: Ava DuVernay and Ryan Coogler are two of her favorite working directors.

Msangi’s selections are wide in range, but there’s still one thing holding them together: themes of vulnerability, community and celebration of identity, across different decades and genres. In fact, her approach to watching movies isn’t far off from the way she made her own—Farewell Amor maps concurrent experiences of disparate people, and Msangi’s tastes seem driven by the same balance of vastness and specificity.

“I’m a filmmaker who really abhors working on the same kind of story over and over again, the same genre, the same kinds of characters,” she says. “So I’m not going to make my career just telling stories about immigrants or about, you know, their wretched troubles,” she laughs. “I don’t want to do that.”

Msangi’s next project will be an African-American period piece; beyond that, she hopes to make films in several locations: the Caribbean, Europe and all over the African continent. “I really would like to just have a lot of fun with my career. You know? Because it’s a fun and magical industry that we work in! The work that we do in creating these stories and hopes and dreams—we create magic, so it should be fun.”

Related content

Adam Davie’s Black Life on Film list

Shachar’s 20 Films by Black Directors 2021 Challenge

Screenpaige’s list of Black Women in Film

Follow Selome on Letterboxd

‘Farewell Amor’ is out now in select theaters and on demand through IFC.

#ekwa msangi #jayme lawson #farewell amor #african cinema #black filmmaker #black director #directed by women #52 films by women #female director #black woman director #american film #drama #romance #dance film #angolan cinema #angola #letterboxd

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hyunrun · 4 years ago

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Dream SMP/Batfam

This is my reasoning for connections between Dream SMP members and the Bats. This was all just for fun, but feel free to give feedback if you’d like! And do say if I’ve made a mistake. I haven’t done everyone, so if there’s anyone else you’d like me to do, lemme know! Please read, I spent a good while on this :D

Batman (Bruce Wayne)/Technoblade: Technoblade's Dream SMP origin story starts with his parents dying, so the backstory fits. He swears to kill all orphans because of the way they killed his parents (Similar to the way Bruce wanted to stop crime from running rampant in Gotham). Techno is also, technically, an orphan as Bruce was. I've always imagined Bruce's voice to be kinda like Techno's, especially that monotone tone he uses, and especially when he's Batman and not Bruce Wayne. Bruce Wayne is -Bat-man and Technoblade is a pig, need I elaborate? Both of them seem to stay up till ungodly times of the day, and I'm sure their sleep schedules are never on the same clock as anyone else's, Bruce's because of his vigilante lifestyle and Techno because... well, he's a Minecraft YouTuber. Both of them have a father figure, although not biological. They also have a friendly rivalry with a fellow content creator/hero (Cough Dream/Superman cough). We say Dick/Wilbur is dramatic, but you can't possibly mean to tell me Batman/Technoblade isn’t subtly more dramatic. They practically invented being dramatic in their respective businesses.

Alfred Pennyworth/Philza Minecraft: Is the father figure to Batman/Technoblade. Is really a force of chaos but everyone pictures them as a soft, loving dad because we all have parental issues and we need more father figures. Both of them are very badass in their own ways. Old and British. Here's a parallel I thought was pretty cool. Philza had been building up his hardcore world for 5 years before he died. It was like his home disappeared in front of his eyes as he fell away from his life. I'm not sure which continuity/arc this is from (Please do not hate on me, I am but a small child) bUT I do know that Alfred died of a heart attack/stroke at the same time the Wayne Manor was destroyed. His home was destroyed as he died. Just as Philza's had been.

Damian Wayne/TommyInnit: Is never really loved by anyone at first glance (From the fandoms). Tommy's the loud, annoying one, Damian's the grouchy, haughty one. But everyone eventually gravitates towards their characters later on. Their families were wary of them at first but grew to love them. Both of them are the youngest, and generally angriest child. Both are not American, Tommy being British and Damian, Arabic. They both have ICONIC mothers. MotherInnit is a queen, we all know this. If she can handle Tommy, she can handle absolutely anything. Talia Al Ghul has a reputation of her own right, and while she hasn't quite the pristine repertoire, she definitely strikes a strong mark on people. Now, this is a dumb connection between the two, but hair!! Tommy’s seems nice and floofy while Damian's is generally drawn spiky, and I think that's a cool contrast. Their love for pets is also important to note. Tommy's the one that's known for starting wars over the deaths of his pets, and it's easy to know that Damian wouldn't hesitate to hurt someone if they did anything to Titus or Batcow. It’s been shown on multiple occasions that he loves his pets a lot.

Jon Kent/Tubbo_: Best friends with Tommy/Damian. Do not try to argue that Jon and Damian aren't best friends because come onnn. And PLEASE do not take this as a dumb excuse to ship Tommy and Tubbo, as I know people ship Dami and Jon. Both are the embodiment of chaos wrapped in kindness, and both are definitely the more stable of their friendship with the other gremlin children. I am confident that both would probably refer to their parents as mother and father dearest. You cannot convince me otherwise. Tubbo has already done so, and Jon would never disrespect his parents, so this would obviously be the next best alternative for when he is upset by them. Jon’s powers fluctuate upon shifts in emotion and he can’t really control his powers, like the shifting of Tubbo’s alter egos. We never know when Toob or Big Law will creep out of the shadows.

Dick Grayson/Wilbur Soot: (Second) most dramatic in the family, though perceived as the drama queen because of their boisterous personalities. The one that was probably a theatre kid in school. The lighthearted one that keeps everyone cheerful, but also the one with the easiest path to a horrid descent into madness. They have a flair for drama, the glitter and sparkles to Batman/Technoblade’s sombre smoke and haze, which is why they work together so well. The closest family member to Tommy/Damian. Their little brother/big brother dynamics are just impeccable. Both are the most simped for by their respective fanbases (from what I’ve seen). The token pretty boys. Both artistically talented in different ways, with Wilbur’s music and Dick’s acrobatic skills. Also the ones that get constantly shipped with every woman they literally even look at. They also express their dramatic tendencies through their clothes, Dick with his jazzy Discowing suit and Wilbur’s dramatic L’manburg outfit.

Superman/Dream: The OP gods, need I say more? Friendly rivals with Technoblade/Batman. Very often perceived as ‘Perfect’ which they are not, but many refuse to accept that. A funny parallel I drew was the fact that both of them are famous in their own rights, but can just walk around and not get recognised despite millions of people knowing their online/superhero identities. Both are technically not human.

Stephanie (Batgirl/Spoiler)/Sapnap: Both of their names start with S! Not my only reasoning, but I’ll take it into account anyway. Both are basic looking in my head (Blue eyes blonde hair for Steph?? There’s at least 3 other girls that look EXACTLY like her in the nearby DC universes. And Sapnap blends in with every other white boy, though I love him regardless.) but both also have immaculate personalities to make up for it. They’re the most normal people out of all their co-streamers/superheroes in my eyes, also my favourites. (I didn’t realise as I put them together that I loved them most but here we are). They’re both great at dumb banter. They don’t have huge, hilarious bits often or any constant jokes that are pulled on time and time again, but their general atmosphere makes everything seem like a joke. They may not be the best at what they do in their friend groups but are actually really good nonetheless and do not get due credit for their effort and talent sometimes. Has a warring relationship with Damian/Tommy (Sapnap over the pets and Steph and Dami didn’t have the most friendly relationship at the start)

Jason/BBH- Same but opposite but same. Exists to cause chaos. I wouldn’t have associated these two with each other till the Badlands became a thing… but then the Badlands became a thing and I had to. Now, I know that technically Bad doesn’t have a grudge against Techno, but Jason would totally set up a whole empire just to mess with Bruce’s plans, just to get in the way, to instigate, to fan the flames of the fire till he’s driven Bruce to his breaking point. Bad isn’t exactly trying to do that, but he’s only around for the chaos. He’s only here for his own benefit, and he’s only here for that because of the hurt caused to him by the nation he came from. A parallel being Jason causing havoc because of the pain Bruce caused him. Besides, both have a cool red and black colour scheme, and both wear jacket!! Both are also technically not alive (If we're considering BBH as a demon).

Roy Harper/Skeppy: I have absolutely no explanation for this, but it just Fits. Besides, they have cool opposing colour schemes and are best friends with BBH/Jason!!

Aaaand last but not least

Jason/Technoblade: Now you must be thinking But Kaly you already spoke about them! And yes, I did, and they do go really well with their respective characters but I couldn’t simply ignore the connection between these two, so I thought I might as well write about it. Technoblade was an English major (If I remember correctly) before he dropped out to pursue his youtube career. Jason, though this may not be a well-known fact, was a definite literature nerd at school before he met his demise. Their cut off education in English is an interesting parallel to me. Both of them also have destructive tendencies, with Technoblade being an anarchist and Jason periodically running an underground empire to make sure he can do whatever the hell he wants to. They don’t generally care who they hurt on their way to reach their end goal. Jason’s reckless shooting and killing clearly shows this, as he continuously justifies his actions by saying he’s ending crime rather than just making it wait in line for its turn to pop up again, while Technoblade’s release of the withers and excessive use of his firework crossbow clearly shows that the deaths of the residents of L’manburg do not matter to him as long as he abolishes the government.

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roobylavender · 1 year ago

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who are your favorite writers of bruce and the dynamics he has w other batfam ? i remember you mentioning some writers you specifically dislike lol but im interested in some genuine recs :)

this is a very late answer and i apologize for that! off the top of my head:

bruce and dick: mike w. barr (early to mid 80s). his stuff for these two is far and few in between like it's a few back pages stories and then the occasional crossover between the titans and outsiders but i really adore how he writes bruce as this concerned parent who can sometimes be overbearing and protective but ultimately wants dick to succeed and so when dick feels suffocated bruce is more than willing to correct himself and back off. like it achieves the two things of holding bruce accountable while not painting him like some emotionally stunted abuser who makes all of dick's choices for him so i appreciate it loads

bruce and jason: mike w. barr (early to mid 80s); max allan collins (post-crisis intro arc). i don't think there is a lot to say here like they're the two writers who are probably the most sympathetic to jason as a human being and hence the way they write bruce's relationship with him is really nice. i'm not a fan of starlin or winick for obv reasons

bruce and tim: alan grant (early to mid 90s). alan grant to me was the perfect person to bring in following dick and jason's exit bc he provided the perfect amount of introspection and self-awareness for bruce to actually be a quite practical mentor to tim. like admittedly yeah a lot of that went down the drain once knightfall happened but i nonetheless think this was bruce at his most active and corrective stage of mentorship bc he was more aware of the consequences of his choices and really wanted to instill in tim that this wasn't a game they were playing at

bruce and stephanie: there's like one issue of gotham knights, #22, written by devin grayson (i know. i know) that i absolutely cling to bc it's really the first (and only) glimmer of hope for steph's relationship with bruce i think. like after multiple issues of tim and bruce being total dickhead misogynists to steph bc this kind of thing is absolutely unavoidable in dixon's writing it's so nice to see a bruce who is awkward but appreciative of steph's effort and unbothered by her tendency to babble bc it fills the quiet. i wanted that explored more between them sooooo badly but unfortunately scott beaty (i think. cmiiw) went on the whole bruce calling steph an inadequate failure shtick and ruined my life forever and i never read a batman comic again

bruce and leslie: mike w. barr (smattering across 80s and 90s). i would say the most heavy handed work to develop leslie as a foil to bruce adamant on pacifism was done by barr. barr in general was probably the most left leaning writer in bat editorial pre-00s so while his politics are not perfect (he tends to believe that violence by both the oppressed and the oppressor is bad) he was able to capitalize on leslie's relationship with bruce the most and i'm very fond of legends of the dark knight #21-23

bruce and selina: bob kane (golden age); mindy newell (late 80s to early 90s). the latter is obv a given if you have been a follower of mine for a while. but i don't think i've spoken on here specifically about how kane truly paints the most distinct picture of selina at her core that miller and newell subsequently capitalized on in their own setting of gotham following the crisis. there's nothing better than catwoman's golden age appearances to convey her thirst for notoriety contrasted with her odd mercies and while it's passed off as a bit of a joke that bruce lets things slide with her bc he thinks she's pretty i also love that it opens the way for him to be sympathetic to her in general, bc he knows she's better than she presents herself to be. bruce should always implicitly trust selina against other people's judgment imo

bruce and talia: mike w. barr (80s into early 90s). i recognize i am developing a pattern here lmao i truly love this man's writing more than that of any other bat writer! but yeah i think there is no one who really understands the complex loyalties and yearning of this dynamic better than barr and more importantly who manages to respect talia's individual agency within that dynamic. he really posits them as equals without any sort of disdain factoring into it and i think it sets him apart from a lot of other writers in the same era

these are the dynamics i can speak to. i've unfortunately never paid close enough attention to writers on issues where bruce's relationships with either gordon feature and then you guys already know i've yet to read up on cass and duke (cries) so i'm no good in that department :/ but i hope these are somewhat useful! the mike w. barr stuff is easy to find if you simply peruse his wikipedia and read all of the batman related stuff and then alan grant is obv the main writer on tec (iirc) for most of the 90s so that's easy enough. mindy newell also has a very small catalogue to her name and the golden age issues with selina you can find through dcu chronology!

#outbox

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bigskydreaming · 3 years ago

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So its no secret that I’ve always been RAWR about takes that talk about how Dick and Bruce aren’t father and son because that doesn’t sum up all they are, really, and actually their relationship is more than ‘just’ father and son.....

But see my issue there, specifically, has always been that for all that people SAY that, when expressing this kind of view, these takes never seem to actually include the idea that Dick and Bruce ARE father and son in ADDITION to whatever ‘else’ they are, that makes their relationship more than ‘just father and son.’ Y’know?

And so it always comes across to me as kinda being one of those lip service things that’s meant to placate resistance to this idea, while still pressing forward with the idea itself and attempting to slot it into the overall narrative/impression of Dick and Bruce’s relationship without anyone being able to actually counter it to any degree. Because then people can be like “no but see, we’re agreeing with you, we’re saying that Dick and Bruce ARE father and son, we’re just not focusing on that label because we feel it doesn’t encapsulate ALL that they are and thus its not the best way to describe them.”

But again....how is that actually agreement with the idea that they’re parent and child, if there’s never any actual inclusion or acknowledgment of the idea that they’re parent and child in ADDITION to anything else that describes what they are to each other, that can’t be summed up as JUST that? If there’s never any acknowledgment of the fact that whatever else Bruce is to Dick, he always had full parental authority over Dick from the moment he came to Wayne Manor? Of the fact that so many of their most iconic conflicts are not those of brother and older brother, but disputes unique to fathers and sons, or family members of two different generations at the very least? If focus is never put on, but instead meant to distract from, the fact that when Dick bucks against Bruce authoritatively making a decision about his life, its that of a child resisting OVER-REACHING exertions of parental authority.....like its not even Dick objecting to Bruce wielding ANY kind of parental authority over him whatsoever, the canon is never actually Dick being like ‘you dont get to decide that for me because you’re not my real dad,’ its literally ‘you dont get to decide that for me because its MY life and I’m an adult at this point.’

Like, even when Bruce acting in his capacity as a parent is the SPECIFIC point of conflict between them, its never because he dares to do so whatsoever, like Dick implicitly always cedes him the power and authority to MAKE decisions based on him being Dick’s parent....the resistance is always tailored AROUND the built in acknowledgment that Bruce can and will act as a parent, even if that’s not what they’re officially calling it at that particular point in canon.

Plus, as I’ve said before, I’ll always be weirded out that people seem MORE ready to accept Dick as Damian’s parent even when Bruce returns and is there as an actual figure that Dick doesn’t want to get between building his own relationship Damian, or replace as Damian’s father.....than they are the idea that Bruce could truly be Dick’s father because it would put him between Dick and his memories of someone who isn’t even around to still act as a parent to him.

Idk. Ultimately I think where I always get stuck here is with how often people refer back to canon as their basis for a particular interpretation of the character dynamics, even in a fandom that swears canon isn’t all that important....

Because the thing is, that whole bit about Dick not wanting Bruce to replace his dad is ultimately just one line from a story back in the GOLDEN AGE.....whereas since then, there have been tons of instances of Bruce and Dick being blatantly father and son and even explicitly referring to each other as such, as well as Dick’s actual adoption.

Its kinda like that thing I’m always pointing out in regards to Dick and Jason’s relationship, and how people point to the one line Dick said (in an era where editorial were really actively pushing the idea that Jason was responsible for his own death to distract from DC’s own culpability there), like....its that thing where people point to the ONE time Dick said something even tangentially negative about Jason as proof that he never liked or cared about him....while at the exact same time ignoring the far GREATER evidence to the contrary, such as Last Laugh, or Dick hallucinating Robin Jason as a comforting figure at one point, or the actual canon interactions of the two pre-ADITF.

Like, of course we all get to pick and choose what canon we abide by, especially when canon seems to directly contradict itself, but its always going to be significant in my mind when people point to singular moments in canon as ‘proof’ of something, while acting like the far greater canon evidence to the contrary is irrelevant?

Idk how to precisely state my gripe here. I think maybe its the fact that singular moments are pointed to as EVIDENCE, specifically, while disregarding that there’s just as much evidence to the exact opposite of a take....instead of singular moments just being pointed to as being like “this is my preference for this, based on me having read this and it just being what happened to stick with me"?

Honestly just musing out loud, or in text, here, not really drawing any conclusions specifically, more just....working my way through thoughts on this subject in a way that might be of interest to others or launch others’ thoughts in various directions.

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magdaclaire · 4 years ago

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partner

read it on ao3

a/n: This fic is at least a little based on the fact that as soon as I met my boyfriend, the very first day I met him, I spent 5 and a half hours with him, and he became my best friend. Some people, you just know. Partner.

He’s got, probably, three million things to do today. Football practice before school, the 6am slot because lacrosse had booked the 7am, and a Student Council meeting at 7am anyway, first period math, second period english, a lunch interview with one of the kids from the school newspaper (“Are you ready for the game against the Bronx Hydra? Do you ever feel like you’re going to let the team down? Now that you’re… not at your best shape?”), actually eating lunch, maybe getting a glimpse of his friends, and he’s still got half the day left after that. He’s only done the practice and the meeting so far. He could do this math in his sleep, of course, because high school Algebra 2 is child’s play, but it’s so time consuming, as if not showing his work is evidence of cheating. Everyone here knows that James Rhodes doesn’t cheat, but some people are just waiting for him to slip. It’s fine. He won’t slip. He’ll show his work. He’ll be perfect. He’ll do it all.

“James,” a clear voice cuts into his monologue as he walks into English, his bag slung over both shoulders evenly because only rebels and boys who don’t care about their future throw around their things, Jamie. He turns loyally and puts on a perfunctory smile, smiling down at the principal he recognized from voice alone, because of course he did. Nicholas Fury is a man of slightly shorter stature than James, but rather large presence, and he has his hand on the shoulder of a rather beautiful young man, despite the fading bruise above his right eye. “This,” Fury says, putting an undue amount of emphasis on the word, “is Anthony Stark. Anthony, James Rhodes. James, I’d like you to show him around a little. He’ll be in this class, and Miss Harvelle will be assigning you as his study partner. I trust you’ll be treating him well. That’ll be all, Mister Rhodes.”

With that, and no explanation to boot, Fury turns and leaves. Typical. He had done the same thing to Clint when he had brought Natasha in, and she had barely spoken any English. He hopes this one speaks English. He knows this one speaks English. Everybody knows who Anthony Stark is - even though he usually goes by Tony in the tabloids. Maybe he goes by Anthony in everyday life though, James can’t assume. Just because somebody is tangentially famous because of who their Dad is doesn’t mean you know them, right? And, everybody has heard that Howard is kind of a dick - it’s all over social media. But, that’s not James’s business.

“Tony,” the guy says, still not looking directly at James.

“What?” James asks, startled. He hadn’t really been expecting Anthony to talk. Anthony’s eyes snap to him, and those pretty brown eyes are sharp, dangerous in their analysis and wow. It’s a lot of attention, a lot of terrible, awful attention. It might say something about James that he doesn’t quite mind it.

“I prefer Tony. Where do you sit? If we have to sit together. Honestly, I don’t care. If he’s not seriously, I’d prefer to sit anywhere else,” Tony says, looking James up and down. James raises an eyebrow, shifting his bookbag on his shoulders.

“What’s that supposed to mean?” he asks, slightly defensive. Tony snorts.

“You wear your bookbag on both shoulders, like a fuckin’ narc. You get assigned the new kid, like a fuckin’ narc. You wear a letterman, which means you play sports, which means you have cronies, which means not only are you able to get away with shit because you’re a narc, you’re a narc with backup. I’m not interested in being a chew toy. Count me out. I’m gonna go sit in the back with that kid who’s definitely high even though it’s second period, which means he definitely smoked between classes, because that’s a kid who isn’t a narc. See you around, quarterback,” Tony says, the bell ringing in perfect timing for him to slide into the seat next to Brock Rumlow.

James doesn’t know what to think.

“James, is there something you need? Please, take your seat,” Miss Harvelle requests from the doorway, and James hadn’t even noticed her come in, given his distraction. He clears his throat, but finds he has exactly nothing to say, thrown completely off kilter by that interaction. He slides into his own seat, the desk next to him empty, and he wonders what the fuck just happened to him in here on this day, really. Brock Rumlow laughs from two rows back, a barking laughter that James hears probably everyday because of just how little Brock cares about his classes and the reputation he holds with teachers, but it holds more of James’s attention this time. Because Tony is back there. A kid he just met.

James turns his attention to the front of the classroom and doesn’t allow himself to look back there again for the rest of the class. Miss Harvelle doesn’t insist upon the study partners thing, not like Fury said she was going to, and James tries not to feel disappointed by that. It’s not because Tony is pretty or anything. James isn’t that easily distracted by a pretty face. He has enough to do today.

He catches Tony after class anyway. With a tap on the shoulder, Tony follows him reluctantly to the stairwell that has emptied out for students heading en masse to the cafeteria. James thanks whomever for the small blessings of his life.

“Hey, I think we got off on the wrong foot there. I don’t know what you think I’m gonna do to you, but I’m not a bad guy, Tony. You can ask anybody. Fury wants me to show you around, and you don’t seem that bad either. Maybe we could try again?” James offers, putting out his hand for a shake. Tony narrows his eyes, ignoring the hand to cross his arms.

“I was really rude to you, Rhodes. What do you mean that I ‘don’t seem that bad?’ And maybe you just put on a good face, honeybear. Doesn’t mean you’re a good guy,” he says, looking smaller, actually, in his defensiveness. Something in James, something that he’s never had before because he’s never been an overprotective friend, not even of Pepper or Wanda, and never of Nat because she could fucking kill him with a spoon, but something in James wants to wrap him in a blanket and take him home to meet his mom. Something has made him damaged, and Jesus Christ, what is his fucking damage?

“Come meet my friends, Tony. Come meet my friends, come sit at our table, and everything will be okay. Okay? I promise nobody will do whatever you’re thinking is gonna happen. You have my word,” James promises, looking in Tony’s eyes then. He tries to put as much of himself as he can into that eye contact, and he watches as something in Tony wants to believe him. He watches as that desperate kid wants to believe in something, anything, wanting to protect him and like him and get to know him, and he watches as Tony lets himself believe in it, even if just for a lunch period. Tony sighs, looking put upon, but somehow, James knows, James just knows, that he’s okay with this.

“Alright, I’ll come with you. Don’t be a baby about it. I’ll come. Lead the way. I don’t know my way around quite yet, and you’re supposed to show me around anyway, right, Rhodes?” Tony says, his voice taking on a teasing note that isn’t half bad, and James grins. Not bad. He takes Tony’s wrist in his hand and guides him toward the cafeteria, leading him directly toward their table, not toward the line at all.

“The food here is trash, and Thor always brings enough food for everybody, even extras, so you’ll be fine,” James promises, his hand still not having moved from Tony’s wrist, though now it was a little further down. His fingers are now wrapped around Tony’s palm without him having realized at all. He doesn’t remove them, just drags Tony over to meet his friends.

“Rhodes! We’ve been waiting for you - Thor brought that kroppkakor shit you like, and he won’t let anyone else get into it until you have first dibs,” Bucky says from the table, perched on the side of Clint’s lap like he nearly always is. His legs are in Steve’s lap, who is also balancing Bruce on the side of his lap, like they can’t just sit in their own seats. Tony snorts derisively.

“Even your friends call you Rhodes?” he asks, looking at the other boy incredulously. James raises an eyebrow.

“Bucky over there, his first name is James too. Don’t want everybody getting confused on who is getting talked to, so it’s easier. Why? What would you call me?” James challenges, nudging his shoulder. The others, silenced by a newcomer, look on interestedly. Even Pietro and Wanda have stopped their usual squabbling to show their interest.

“Isn’t it kinda obvious? Rhodey. Rhodeybear. Rhodey is the obvious take here,” Tony says, a bored front forced into his voice, but his hand is tense in James’s. Rhodey’s. Yeah, okay, he can see where that could work. That isn’t half bad. He tosses it around in his mind a little bit, and maybe his distraction is why he doesn’t notice Mary Jane Watson saddling up beside him, clipboard already out.

“Come on, Rhodes, you and I have an interview to get to, and you’re already late. My photographer and dramatic artist are already in the interview room,” she says, grabbing him by the shoulder. He holds in a groan at the mention of who will be waiting. The photographer is fine, but the artist. Michelle Jones, one half of the dynamic duo (Mary Jane being the other) known as MJ&MJ, is the bane of pretty much every male’s existence. She hates guys, especially upperclassmen.

“Come on, Tony, right? I heard you introduce yourself in English. Stay with us, okay? Let Rhodey do his interview. He’ll be fine. Stay,” he hears Clint coaxing, only then realizing the grip he still has on Tony’s hand, and the fact that Clint must have turned up his hearing aids to have heard a conversation in a full classroom at 9am at all. James lets go of Tony, but leans in to talk to him anyway.

“You don’t have to stay with them, not if you don’t want to, but I think you should. They’ll like you. It’ll be okay,” Rhodey says gently, leaning in just a little too close, before MJ snags his arm.

“Let’s go, Rhodes,” she says, and then they’re off. The interview goes about like he expects it to, with the prying questions he didn’t want to answer. He does fine on his braces, he’s not scared of the Bronx Hydra, their own team, Shield, plays good enough football that it’s fine even if Hydra wants to dry and play dirty. It’s not like they’re playing hockey and somebody can try to cut a tendon with their knife feet. He gets a laugh out of Parker with that one, which is always fun; the kid is just a freshman, and he just lost his uncle, so startling a laugh out of the kid is a point of pride. He and Rogers have been trying to get him to join the team - he’s small but he’s fast, they’ve seen him run from Thompson, as many times as they’ve tried to get him to stop giving him a reason to run - but he’s stubborn.

“It’s been nice, kids, but I’ll be back to my friends now. Let me know when that’s hitting the paper,” Rhodey says as he leaves the newspaper room, which is really just one of the old conference rooms that Michelle bullied her way into keeping. He pretty much sprints back to the cafeteria and checks his phone on the way; ten minutes til the end of lunch. Awesome.

“Hey Rhodey,” Tony greets him when he gets back, sitting between Bruce and Maximoff like he was born to be there. Rhodey laughs, shouldering Pietro sideways so that he can sit beside Tony, just because he wants to and just because he can. Snorting, the Sokovian takes no offense, just sliding closer to his sister like it was his idea in the first place. Pretty much all of them just move Pietro - he’s a wide receiver, tall, sure, but real thin, and light because of it, and even with his braces and Bucky’s arm, they’ve both carried Pietro on their shoulders a couple of hours each.

“Hey Tony. Enjoying my kroppkakor?” he asks, because low and behold, Tony is already eating his kroppkakor, which Thor was supposed to be saving for him. Tony, who is proving to be a little shit, eats a forkful of it cheekily, grinning.

“It is delicious, and did you know that Thor makes it himself? Yeah, his mom used to make it, but when his brother started poisoning him, you know, as a prank, Thor started making his own food so he could make it and store it in his room and always know where it was and be sure and stuff. Isn’t that so funny?” Tony asks, giggling. It sets James’s teeth on edge, and he leans in, sniffing Tony’s jacket. The smell there makes him want to go out to the back lot and knock Brock Rumlow’s block off.

“Tony, are you stoned?” he asks, even though he knows the answer. Tony’s face goes dark.

“Are you my fucking mom? Wait, no, ‘cause she’s in Argentina, just like she’s been for the last fucking month. Couldn’t even come home for me getting kicked out of school, could they? Never good enough or bad enough to fucking matter for a good goddamn, even when it’s not my fucking fault I’m getting kicked out, so why should you fucking care if I’m stoned, Rhodeybear? We just met this morning, partner. You’ll be fine,” Tony says, standing up roughly, patting Rhodey’s face. Every single person looks at James before any of them follow Tony, and it’s him and Clint that struggle out of their seats to do it. He looks at Clint, begging him with his eyes to sit back down, to which their archer complies.

Great. One less thing to worry about.

He catches Tony at the exit of the cafeteria, catches his arm and leads him over to an alcove that is relatively devoid of activity. He’s already decided on investment. He’s a man of commitment. So stay committed, Rhodes. See it through.

“I fucking care, Tony. I fucking care because I’ve decided to care. It’s time to get good with that, alright?” he asks, crowding Tony against the wall, just a little bit. Tony leers up at him, a false smile taking over his face.

“Is that what it is, Rhodes? Do you want something else from me?” Tony asks, scanning Rhodey up and down. Rhodey pushes down the impulse to be flustered, pushes down the impulse to say no, why would you say that?, pushes down the impulse to lie, and instead sighs. Smiles. He leans his head down, and looks at Tony honestly.

“Maybe one day, when you’re not as fucked up, and I mean more than just sober, Tony. I don’t know what shit you’ve got going on, and I know it’s something - you don’t have to tell me, but you need to tell someone. My friends, they’re good people. You can tell them, you can go to a counselor, you can tell an adult, you can go to therapy, but anything but this, okay? I’ve known you for one day and I can see the self-destructive on you from a mile away. You need to tell somebody what’s eating at you, Tones,” Rhodey rambles, running his fingers along his short shorn hair, the speed across textured curls leaving a buzzing feeling in his fingertips. He’s nervous, maybe more than nervous, but it needs to be said. Tony looks like he’s been punched in the gut.

“Jesus, Rhodes. Don’t hold anything back,” he says, coughing, “couldn’t have said that when I was sober?”

“Maybe don’t get high in the middle of the school day then,” Rhodey quips, a huff of laughter escaping despite himself. The bell rings then, with Rhodey having eaten exactly nothing for lunch, with Tony still half high and neither of them at all prepared for the rest of the day, and that is the first time that James Rupert Rhodes skips class in his entire junior year of high school. He and Tony peel out of the high school in Tony’s obnoxious cherry red custom Ferrari, because of course he drives something terrible, and they go get lunch at the Avengers’ favorite diner. The Avengers is something that their friend group calls themselves, which is a story that gets told that afternoon. They exchange quite a few stories that afternoon.

Tony comes down more as he eats more, and Rhodey tells stories to fill the space; he doesn’t want Tony’s trauma when he’s too out of his head to hold his jaw shut. Apparently, he had given Rumlow eighty fucking dollars for six consecutive hits off of his pipe. First of all, who hits a pipe six times in a row? Second of all, eighty goddamn dollars? James doesn’t fight. But Bucky and Sam sure as fuck do, Bucky boxes, metal arm or no, and Sam does whatever the fuck Sam does, and if James texts them underneath the table, that’s none of Tony’s business. He lets Tony Stark buy him a milkshake for skipping his fourth period (because apparently, that’s a separate offense from skipping third), and they have a nice afternoon.

When the high has completely faded, Tony does tell him.

“I was kicked out of my last school, a private school, for fighting. Howard paid to keep it out of the media, and paid enough to keep Jus- Hammer’s parents to keep from pressing charges. But, Rhodey, you gotta know, I didn’t fight anybody. Justin was my best friend. His… lackeys, they backed him up, they lied. Anything to get baby Stark kicked out, you know? I skipped a grade, fourth grade, and they never forgot it, still resented me, and I-” Tony is rambling and ranting, and Rhodey needs to get him back on track. He takes Tony’s hand from across a shitty diner booth, holds his hand across the table.

“It’s okay, Tony. Just continue. Tell me what happened,” he encourages, his voice much calmer than he feels, because he has a feeling he knows where this is going. Tony still has a bruise on his face. He doesn’t know if he still has bruises anywhere else.

“The night that Justin… decided we weren’t friends anymore, he punched me in the face. It wasn’t even that good of a punch, but it surprised me, you know? And, uh, two of his cronies were in our room, because me and J were roommates before I got kicked out and he let them in, but… yeah, he and they… beat the crap out of me, I don’t know. Lied about it. Really committed to it, you know? I thought Justin was… he was my friend, you know? God,” Tony says, shuddering. Rhodey squeezes his hand.

“It’s okay. You’re okay. Everything is okay. You’re gonna have better friends now, Tony. Nothing like that is ever gonna happen again,” Rhodey promises, dipping his head to look Tony in the eyes. Tony smiles bitterly.

“How do you know? You gonna follow me to college, Rhodes?” he asks, raising an eyebrow. Rhodey shrugs a shoulder, sitting back and splaying out confidently.

“Depends, where do you wanna go?”

#ironhusbands #rhodeytony #tony stark #james rhodes #could be read as mostly platonic #high school au #bullying cw #past bullying #justin hammer cw #im not tagging all of the characters that's too much #mine

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alisinchainmail · 4 years ago

Text

More from the crossover fanfic no one asked for but everyone's getting...

Kylo + Quinn: The Last Harlequin: Ch. 1.2

[Gif sources: Part 1, Part 2]

Writers' favorite excerpt from Kylo + Quinn Chapter 1.2 of The Last Harlequin:

He exhales sharply through his nose and straightens. "My Knights of Ren detected you in our no fly zone. You didn't respond to our warnings we sent, so we mistook you for a threat."

She rolls her eyes, annoyed at the jab. "I guess I'm going to have to forgive you and your little Space Knights of Ni for not knowing who I am..." She does a flashy roundoff back handspring and flips over him so she's between him and her bat. "Harley Quinn, nice to meet ya." She extends her now uncuffed hand to the dark knight.

Overcompensating with stillness to hide that he's impressed with the stunt from an Earth girl, he looks down his nose at her hand. "Kylo Ren," he says quietly, giving her the decency of a reply.

Harley withdraws her hand, slightly offended he still doesn't seem to have heard of her, "Never heard of me? The Cupid of Crime? The Maiden of Mischief? Princess... of Darkness." She trails off on that last one, unsure if she recently lost that title. "Formerly..." she corrects it quickly.

Kylo plays her game, "Leader of the Knights of Ren, Champion of the First Order, and Apprentice to Supreme Leader Snoke." He takes a step towards her, towering over her. She tilts her head acknowledging she has no idea what any of that really means, either.

"You're not part of the Resistance," he states more than asks. "However, the vehicle you stole has connections to the Rebellion. How?"

Clearly there's a lot of space politics that is not public knowledge on Earth. Why would Bruce Wayne be involved in space wars? He's probably friends with that Elon Muskrat. He's pretty sus with all that Space X shit.

She responds innocently, "Look, I just saw the thing in some local billionaire's driveway, and thought, 'Why not go for a joy ride?'" Kylo steps closer studying her expressions. Harley squints, "What?!"

Kylo shakes his head, "The Empire has no use for you then. We'll decide what to do with you, or what remains of you, when we're done searching the vehicle."

Harley squints at him, gathering a pretty clear psychological profile from that golden threat of a response, his list of self-important titles, and his demeanor. It all screams of daddy issues.

If he wanted to kill her, he would've done it already. Is he her enemy or a potential new ally? How far can she push this guy before she finds out the hard way?

She smirks and fires off, "So...you're building a crown-rule empire because daddy kicked you out. And you think this is a big fuck you, but in actuality it's a very misguided attempt to win back his respect." Kylo grips his helmet, and narrows his eyes at her.

Harley slowly steps back towards her bat, she looks at his mask grinning, "Daddy wanted a son, so now he has to hide behind a mask...I get it!" Kylo slams his helmet down on a sidetable next to him. This was too easy!

Harley continues, "Awh it's ok! I bet your mom still loves you. Mom's usually do... if they have the time to notice you through your desperate attention-seeking behavior." He looks in shock.

She's really hitting a nerve with this guy. How is he so easy to read? "Or maybe you're trying to destroy the very thing that distracted her from you in the first place. Classic only child syndrome. She's part of this rebellion thing isn't she? Gotta love a rebel girl." Kylo lurches at her.

Harley lunges for the bat, but Kylo quickly raises his hand at it, sending it flying across the room. Harley looks at her empty hand, then across the room where it landed. What is he? Some sort of space wizard?

Harley shakes off her confusion, "Won't let me play with your toys? What would I expect from an only child with deep-seated father issues?"

Kylo yells, "Stop...TALKING," as he grabs at Harley. She dodges. Time to go all in.

"Tell me, what did dear old dad do to you? Or was it someone else? Got an uncle who paid some unnecessary visits to your bedside when mommy and daddy were away?"

Kylo clenches his fist and rolls his eyes. That was a hit. Harley taunts, "Awwhhh did I sink your battleship?"

"ENOUGH," he roars, grabbing a handle from his hilt and firing out a massive red flaming greatsword.

Harley stares at the new weapon in disbelief. "Come on! Lazer swords?! At least let me use my dinky baseball bat. I'm Little League compared to that!"

Co-Writer's (Brian) Notes:

I love this as an introduction to their relationship. Harley always has to get the last word in and Kylo is always struggling to keep his composure. Both their characteristics make them butt heads, and also is why they work.

They’re always gonna have a back forth with their personalities. A yin and yang basically where he’ll constantly try and stay level and she’ll try to trip him up.

Writer's (Alisin) Notes:

I like this part of the scene for their chaotic, impulsive energy playing off each other in different ways. Also for her first exposure to the world of Star Wars, which her inexperience with the world helps me get away with the fact I still haven't seen all of the Star Wars franchise yet and am newer to the fandom. We're sort of figuring out the world together.

I wanted them to be fairly evenly matched, which — much like with Rey— is Kylo's first experience with someone on equal ground like that, so it throws him off at first.

Harley is skilled with getting in people's heads from a psychoanalytical standpoint, whereas Kylo uses more of a brute force approach later in the scene. Luke criticized the way the Knights of Ren use the dark side of the force as being unskilled "like a hammer". I bring that characterization into Kylo.

Kylo wields his emotions and fighting style with a lot of intensity rather than precision and agility. In spite of his bloodline making him a more powerful force wielder, he can be quite clumsy with it. As though his power is greater than himself and the conflict he carries disrupts his clarity in his actions, while also fueling the power of the dark side through his raw emotion.

With Harley, I like to keep her dancing in between both, since as a character she is more morally gray.

Her weapons of choice are sometimes literal hammers but her fighting style and wit can be very fluid and agile, similar to the fighting styles of those who utilize the light side of the force. Her actions are impulsive, but not clouded in self-judgements. Without the Joker's influence, she knows herself well enough to have some faith that her impulses are in alignment with her fluid morality.

And to bring it all back ti Brian's point:

Kylo is brute force like Harley’s weapon and she’s skilled and precise like a sword, his weapon. Neither will admit it but both could run into situations where the others methods work better. Harley has been forced to be chaotic in her approach for so long she’s sort of rebelling against it in her style. Kylo has been wielding the force like a hammer for so long that everything looks like a nail. This further adds to their yin and yang relationship dynamic and how they’ll be able to survive by adapting the others' strengths when they need them.

[GIF Source: Part 1, Part 2]

Check out the full chapter on Wattpad: The Last Harlequin. For mature audiences only.

Kylo and Harley's first meeting was originally going to be more simple, but then it just took a life of its own. This whole chapter was originally 4 parts for the Tiktok series, and now it's pushing 16 on Wattpad...and I'm still not done writing it. I have a drug trip scene in the works where they take an intense hallucinogen called Jabbawaska. Yes, this is how ridiculous the Wattpad gets. They're fun characters to write for and it's interesting to see how they bring new characteristics out of each other.

Episodes are currently being posted daily on Tiktok: @KyloQuinnCrossover. Chapter 1 exists in full on YouTube.

Part 1: https://vm.tiktok.com/ZMePNHnKH/

Part 2: https://vm.tiktok.com/ZMePNAJAE/

Part 3: https://vm.tiktok.com/ZMePNGWTx/

Part 4: https://vm.tiktok.com/ZMePNGwEn/

Ch.1.10 WP Promo: https://vm.tiktok.com/ZMePN4pAy/

Ch.1.11 WP Promo: https://vm.tiktok.com/ZMePNPmUS/

Ch.1.12 WP Promo: https://vm.tiktok.com/ZMePNsnY7/

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our-happygirl500-fan · 5 years ago

Note

Okay okay okay okay, I know I’m asking a lot of stuff and probs annoying you. I’m currently reading about the character but what about her and Tim?? Like can I get a run down of everything about them. The good and bad?? Everytime I see things on here it’s either making Tim to be so bad (Anti-Tim ig) or Steph to be so bad and I’m sure they’re both at fault, yea?

No I’m happy to help.

Both Tim and Steph have made mistakes but not in an awful way and more in a ‘these are literal children dealing with serious situations while also trying to be in a relationship with one another’.

The Steph being bad stuff entirely comes from the fact that she’s a female love interest to a boy who’s one half of a popular mlm ship, she’s made mistakes here and there but they’re human instances where she’s trying to do her best, fandoms often tend to erase or demonise female characters in any any fandom if they are involved in a ship. It’s a sexist habit that comes from reducing a female to only her romantic relationship and ignoring all her other connections and reeks of misogyny. There’s also some slut shaming as Steph was a teen pregnancy & a victim of sexual assault multiple times.

The anti Tim stuff is a bit more complicated, partly it’s a response to sexism where so many fans are sick of the misogyny directed at Steph that they go full throttle the other way or it comes from fans genuinely uncomfortable with Tim’s actions as this is comics and comics are usually written by sexist men which means Tim sometimes takes actions or says something that is not so great.

The important thing to remember about Tim and Steph is that they are each others best friends and they have been through so much together to the point where even if they were not dating they would still be one of the most important relationships the other had.

There is some worry that Tim and Steph feeds into each others complexes

Tim and Steph both experienced neglect growing up in different ways which makes their attitude to love very different.

Tim's parents were never around most of the time which makes him sort of desperate for love, for validation and most of the time he seems to be of the sort that love is something he can earn if he just does the right thing or achieves the right goal which reflects on how he probably thought if he got good grades or made his parents proud they'd notice him more they'd spend time with him more.

Steph's childhood of neglect I guess you could say came from the sickness of her parents Arthur Brown was abusive to both his wife and daughter and Crystal's drug addiction making her barely able to raise Steph half the time. More often than not it was Steph taking care of the house hold and her mother than any adult looking out for Steph.

With the neglect Steph went through she knew that there was nothing /she/ herself could do to change it, she couldn't magically make her mother quit taking drugs or stop her father from committing crimes by winning an award or behaving well, heck most of her childhood was just trying to keep her and her mum alive so in contrast with Tim who is desperate to receive love Steph is desperate to give love. Because if she's giving love to this person that means they care about her too right?

This comes across in how easy Steph is willing to poor love into people who are even remotely nice to her like the second Barbara or Bruce stop treating her like shit she's immediately like 'I would die for you'. The second her mother is sober enough to notice her Steph is there being like 'mom I love you I would protect you with my life'. Cass is slightly nice to her? She is now Steph's best friend.

Tim is desperate to receive unconditional affection while Steph is desperate to give unconditional affection which would explain why they are drawn to one another but enough about the meta and onto their actual history.

Steph became a vigilante originally to stop her fathers crimes, the entire point of Spoiler was an abuse victim taking agency back from her abuser and due to Tim being Robin and also investigating the same crimes the two would run into each other multiple times, there was an attraction between the two however neither truly pursued anything due to the fact that Tim was dating another girl and Steph was ‘seeing’ a guy (though the relationship was implied to be unhealthy as he was significantly older, Steph only being around 14 at the time, and showed little in Steph’s actual well being).

However despite the two already being in relationships the two developed keen banter together and quickly began to enjoy the others presence what arguably set then on the path towards a relationship however is when Tim very nearly died and Steph managed to save him at the last second, Tim was so relieved that he kissed Steph sparking a romantic interest from Steph and Tim beginning to realise he had feelings for her.

Steph would then continue fighting crime outside of her fathers crimes as Steph realised that as Spoiler she could help other abuse victims such as herself. Steph’s entire life can be described as falling through the cracks in the system no one caring about the abuse and unsafe situations that she grew up with and Steph’s early journey as Spoiler is her realising that even though no one had cared when she was abused and hurt she could be the person who would care for other people so no one would suffer the way she did. Steph aiming to fight crime meant that she and Tim ran into each other even more working multiple cases together until it eventually culminated into Tim admitting that he had feelings for Steph but due to his loyalty to Batman he could never tell her his secret identity however Steph told him that that was enough for her, the two ended their previous relationships and started dating.

This is actually where a lot of criticism over the relationship is from due to the obvious power imbalance Tim knows every detail of Steph’s life while controlling all information Steph has on him and only lets her interact with Robin. Tim has also been shown to be rather possessive of Steph controlling her interactions with other members of the superhero community and expressing alarm in her spending time with other heroes who are not him.

There is also the fact that for a large part every man Stephanie has ever interacted with have been abusive in some way, her home life was incredibly dangerous due to her mother and fathers friends all being criminals or victims and Steph had to deal with at least two instances of child predators growing up so to many readers it becomes increasingly obvious that Tim might very well be the first man Steph ever interacted with who treated her with human decency and that is why she fell in love with him.

After the relationship started Steph found out that she had become pregnant from her previous relationship and the reader discovers that Steph’s previous boyfriend on top of being awful to her was also using her for sex. Steph tells Tim about the pregnancy fully expecting him to break up with her however Tim states that he is going to be there to support Steph. The two grow even closer as Tim becomes someone for Steph to lean on wearing disguises to take Steph to birthing classes and helps Steph through the process of putting the baby up for adoption. Tim is even there when the child is born.

The incident made Tim and Steph even closer and afterwards the two continue dating and remain close, Steph quickly becomes what could be considered Tim’s safe place as he is able to leave any problems as Tim Drake or Robin away and simply enjoy being with her and during times where Tim is unable to visit Steph he is shown to be tense and disgruntled without the positive emotional outlet however after nearly over a year and a half of dating Steph begins to realise that the dynamic of the relationship is uneven as Tim has complete control and knowledge over her own life while she knows nothing about Tim’s life out of the mask. Steph begins to worry about merely being used and starts openly wishing that Tim would let her be more involved with his life outside of Robin.

Tim meanwhile is beginning his rebellious phase against Batman and Bruce takes actions to try and nip it in the bud as Dick’s rebellious phase ended with Dick leaving Batman for the Titans and Jason’s rebellious phase ended with Jason dead. Bruce attempts to control Tim by using Steph revealing Tim’s secret identity to Tim. After that point Bruce would continually manipulate Steph in a gambit to manipulate Tim and Tim expresses frustration at Bruce using Steph to get to him.

Bruce and Steph’s relationship is incredibly complicated in its own right as Steph has a childhood admiration of Batman as he was the only one who seemed to be able to stop her fathers abuse by putting him in prison. This childhood admiration causes Steph to follow and respect Bruce no matter how many times his actions hurt her. Bruce on the other hand has a lot of issues regarding Steph as Steph reminds him a lot of Jason and Bruce puts a lot of his unresolved issues regarding his dead son on her which as you might assume does not end well for Steph at all.

Outside of Bruce’s meddling however Steph and Tim grow increasingly close no longer having to worry about secret identities the two go on regular dates and are there for each other in every aspect of their lives. However Tim’s father finds out about Robin and forces him to quit and Steph who had been dating Tim ‘batman needs a Robin’ Drake for years was firmly of the belief that ‘Gotham needs a Robin’ at which point Steph herself becomes the fourth Robin though it is heavily implied that once again Bruce is manipulating Steph in order to manipulate Tim into coming back.

Then DC enters its dark ages where they kill off characters left and right and Steph is tortured, raped and killed in a Gotham wide gang war primarily for Bruce angst so that Bruce can go ‘oh god it’s Jason all over again I knew she was girl Jason I knew it’ mean while Tim has what can probably be best described as a mental break down over Steph’s death and the subsequent death of his father and multiple friends. This causes Tim to become cold, cynical and increasingly dark and pessimistic (he has depression).

However Steph comes back to Gotham two years later alive again and it is revealed that Leslie Thompkin’s essentially kidnapped Steph to Africa for two years and faked Steph’s death in order to try and save Steph from being a soldier in Batman’s crusade. Steph was Leslie’s ward for two years but realised that she could literally not stop fighting crime as in Africa Steph literally started dressing up as an African legend and started fighting crime there, eventually convincing Leslie that they needed to go back to Gotham the two returned and Tim was over the moon to see Steph alive kissing her on sight, however Tim realises that he essentially had a break down over Steph death for nothing and expresses resentment over Steph letting him believe that she was dead for two years. Steph who had spent the past to years recovering physically and mentally from the trauma of being tortured for days prior to Leslie faking Steph’s death and Steph essentially not having had a choice in Leslie’s plan to fake her death is just like ‘I don’t know what to tell you buddy’

Steph is still Tim’s emotional home, immediately relying on her for emotional support once again and the two are shown to still love each other however the two had changed a great deal over the time they were apart. Steph having had an adult finally care about her well being for the first time in her life grew much more positive into someone who believed in the inherent good in people and in hope while Tim had grown harsh and dark and cynical. The two even joke about how Steph has become an optimist while Tim had become a pessimist. Steph is like a beam of light for Tim who had become increasingly dark and Tim finds himself being both wary of it and drawn to it.

Then Bruce gets back to his old tricks of using Steph to manipulate Tim and gives Steph instructions to challenge Tim in order to improve Tim’s skills as a crime fighter. Steph on Bruce’s orders employs and assassin to fight Tim however the assassin goes to far and Steph is injured trying to protect Tim. Tim realising that Bruce is once again manipulating Steph to get to him as well as having an inherent fear of Steph dying again demands that Steph should not be a vigilante any longer never mind that Steph literally can not stop fighting crime which causes a rift between the two.

The superhero community then believe that Batman is dead and Tim leaves Gotham to prove that Bruce is alive while Tim is gone from Gotham Cass makes Steph the new Batgirl and Steph becomes incredibly close to Barbara and Damian and as Batgirl makes several friends within the masked community no longer having her interactions be controlled by Tim or Bruce. Steph starts coming into her own and building up her self confidence, when Tim returns he is once again upset that Steph is still fighting crime his fear of Steph dying still going strong and acts condescending towards Steph’s attempts to help him however Steph proves herself in sheer level of skill and prowess and Tim accepts her as a vigilante and the new Batgirl accepting that Steph will not die again. Tim then attempts to rekindle their romantic relationship however Steph realises that she had been too dependent on Tim’s love and wishes to improve herself as a person before she even thinks of entering a relationship again. The two remain close friends however Tim expresses attraction towards Steph multiple times (Tim is the horniest little fuck during this time in their lives and Steph is literally out their trying to live her life and better herself as a person and get a university degree it’s hilarious)

If Convergence is to believe the two would always eventually get back together in one way or another the two issues being about their romantic interest in each other and getting back together.

After the reboot happens when they meet again Tim immediately expresses romantic interest in Steph while Steph herself is wary of Tim as in this universe both her mother and her father are criminals who have tried to kill her and Steph has effectively been homeless living in public libraries or where ever she can. It is unknown when but Tim offers Steph a place to live at his apartment and a some point the two eventually enter a romantic relationship.

A lot of fans have criticised this as Steph is entirely financially dependent on Tim for food and shelter and once again Tim holds more power than Steph in the relationship. Also in the rebooted universe Tim is Steph’s only support system as her parents tried to kill her, her father murdered any civilians she was close to in order to hurt her and any connections Steph had before the reboot have had vast amounts of their history erased.

Steph has also been shown to be responsible for a lot of Tim’s mental health as she has to stop him from crossing lines or going off the deep end multiple times it is described as Tim having a tendency of walking a dark path when he is alone.

Steph and Tim are both presented as each others support systems in current comics and when Tim wanted to leave Gotham in order to research the multiverse Steph went with him as the two rely on each other.

I don’t believe there is a good guy or bad guy in their relationship both Tim and Steph want what’s best for each other but sometimes these views don’t line up which causes conflict but at the end of the day they are two people that care about each other a great deal and whether they are in a relationship or not they will always be one of the most important people in each others lives.

The relationship is criticised by the fandom as fans either fetishise mlm relationships and are angry at Steph ‘getting in the way’ an unfortunate trend in all fandoms and on the other side many are tired of female characters being reduced to their romantic relationships.

TimSteph is a cute ship with a deep connection and a lot of history proving that they care about each other a great deal but sexism and misogyny are things that exist especially in fandom spaces and that creates a nightmare.

#asks #DC comics #stephanie brown #tim drake #dc #timsteph #boy these two have been through a lot #but yeah the ships fine people just hate woman and fetishise gay relationships

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