#robin especially for the same reasons!!

[raconteur-wanpi]

Actually, speaking of the whole Sanji & Usopp Meta again (I won't shut up about it ever) and the common complaint of "why wasn't Usopp in WCI?", the more I think about it, the more I come to the conclusion that it IS because they are foils.

It's kind of a joke I've seen around that "WCI wouldn't have happened if Usopp was there" but I actually genuinely believe that. Do you think Sanji would have the guts to lie out of his teeth (the whole pretending he was a cruel haughty prince this whole time) to drive away his crew during that carriage scene, if the Certified Crew Liar who Lies to Protect Himself and Others was there? To call him out? To immediately recognize that behavior? Do you think Sanji would have it in him to FIGHT LUFFY, if Usopp, who was deeply scarred by his own brawl with Luffy, was there to watch them? When Usopp reminds Sanji of his past self? Would Sanji find the strength or the courage to make Usopp relive Water 7 in that scene? Would Sanji find it that easy to lament about his weakness compared to his powerful siblings during the entirety of the arc if the "guy that survives being the Weak Human in a world of Monsters" was there to remind him it IS possible to survive? Especially when you accept the help of your friends?

Usopp wasn't in WCI cause it would have been over like ten times quicker lmao. Sanji needed to feel isolated and desperate in his solitude for the arc to work, and the best way to do that is to separate him from one of his major foils. And I think it's the same reason his other two parallels, Zoro and Robin, weren't in it either.

[enobariasteeth]

I love that Batman is so popular with macho toxically masculine men because Bruce Wayne is arguably the saddest, most pathetic, wet cat, weirdo little freak to ever be written

[elfindreams]

I am a normal person with a job and various normal hobbies but also if you sliced open my brain you would find a region which has existed for years and is singularly dedicated to storing my needlessly overspecific post-OOT / MM Zelda headcanons covering the span of several in-universe decades and in fact aren’t headcanons because they are all completely correct and accurate and ~thematic~

[dukeofthomas]

@daisybell-on-a-carousel you are so right and correct. perfectly said perfectly conveyed oh my god

The thing is, I actually think it's a super interesting angle to look at the intersection of trauma and mental illness and vigilantism and coping mechanisms with Jason's character.

But, for me, if you want to seriously ask at what point does Jason need therapy more than he needs the vigilante lifestyle it's not Red Hood Jason you should be looking at. Red Hood Jason was literally murdered and the mysteriously resurrected. That's not something you can therapy your way out of! That's something that no amount of talking will ever help you understand, because it's a completely incomprehensible event!

No, if anyone needs therapy it's 12 year old Jason.

It's 12 year old Jason, who has poverty trauma and homelessness trauma and prison system trauma and parentification trauma and drug related trauma and, depending on your reading, potentially sexual trauma.

It's 12 year old Jason, who is taken in by Bruce - a man who is *also* severely traumatised (in extremely different ways) and chooses to dress up as a Bat and punch people about it instead of seeking healthy coping strategies.

It's 12 year old Jason, who Bruce decides - without psychiatric training or so much as a second opinion - needs the same outlet that "helped" Bruce and "helped" Dick.

And by the time aditf rolls around, Bruce is maybe just realising that he's made a mistake. But it's too late, because for two years he's told this child - a child who arguably feels indebted to him, a child who is extremely isolated and had very few if any other trusted adults to talk to - that violence and avoidance is how you deal with emotions.

I think that's fascinating to think about!

That Bruce's own failure to process his trauma left him blind to what Jason might actually have benefited from! That if Bruce had noticed Jason struggling earlier, if he'd reacted differently or explained himself better in aditf, Jason might not have felt the need to travel around the world alone looking for a woman he'd never met and only just learned about!

That if *Bruce* had been healthier, had been to therapy instead of throwing all his energy into vigilantism, none of this might have happened!

Reframe Red Hood Jason as a tragedy of Bruce's own making, not because of the classist bullshit that Jason was always going to end up a criminal and Bruce failed to stop that, but because Bruce's terrible coping mechanisms became *Jason's* terrible coping mechanisms and nobody likes to see the worst parts of themselves in the mirror.

[catgrandpa]

Gotham has always been weird, so when the groundskeeper at the cemetery noticed the Wayne kid’s plot was disturbed, he just chalked it up to more of the same ol’. Alright, so ‘disturbed’ may be a tad too light of a word, but what’s an empty grave in the grand scheme of Gotham? God knows in a city like this one, they could use all the burial room they could get. He figured he’d just jot it down on the website and hope nobody noticed for a while.

Too bad he didn’t account for the 13 year old boy in Bristol who periodically checks the cemetery’s website when he’s feeling particularly lonely.

Plot Removed.

Tim Drake stared at the two words under the heading for Jason Todd’s plot number. Removed? What do they mean ‘removed’? They can’t just remove a plot? That’s a person down there! That’s Robin down there! You can’t Remove Robin!

Calm down. Deep breaths. Assess the situation.

Robin has been dead for 5 months and 14 days. There is no reason for a grave to be removed that early, especially one of a member of such an affluential family. Chances are likely it’s a simple clerical issue. He can call first thing in the morning and make them aware of the mistake. He can have it all fixed in 5 hours.

Just a phone call.

In 5 hours.

…

Tim hates talking on the phone almost as much as he hates waiting.

Well it won’t be the first time he’s snuck out to head to Gotham proper at 1am. It can’t even really be considered sneaking out if there’s no one home to catch you.

Buses stop running at 2, so he layers a couple sweaters under his coat and grabs his best running sneakers so he can comfortably make the trek back.

Just a quick trip to settle his nerves. Maybe get a few shots in if he spots Batman, but really he just wants to see with his own two eyes that things are okay and Jason can rest.

It’s 1:37 by the time he gets to the headstone reading ‘Here Lies Jason Todd’ and the gaping, muddy pit in front of it.

This- This doesn’t make any sense. This is not removal. This is destruction. Desecration. Somebody did this. Somebody-

Assess the situation.

A hole in the ground, approximately 1.5 feet in diameter.

Mud and grass flung outward but with little force.

Large chunks of earth turned over and shoved away.

No signs of tool marks or clean lines of entry into the dirt.

Dragging claw marks.

Staggering, shuffled pairs of foot prints in the mud.

A trail of dirt.

Something… Something large clawed its way out of the ground here. Something large and bipedal and- and humanoid.

Tim refuses to jump to any conclusions he can see all the facts laid in front of him. He’s going to cautiously follow the trail and simply hope to any god listening that he isn’t the world’s first line of defense against the zombie apocalypse.

He’s been walking for 23 minutes and there’s good news and undecided news. Good news: he’s closing in on the target and the trail isn’t taking him out of the way so his trip home won’t be prolonged. Undecided news: The potential Zombie Robin is heading directly for Wayne Manor.

As zombie apocalypse news, this is very bad. From Tim’s collected observational evidence, his not-so-professional opinion is that Batman, faced with a horror movie level zombie of his dead son, would not respond well, and would likely not fight back.

In Batman and Robin news? Tim’s unsure. If Jason is simply back? What could that mean for them? Batman can have his Robin. He wouldn’t have to continue nearly killing others and himself every night in his grief. Jason could-

No. Stop. Do not jump to conclusions.

Hope only brings heartbreak.

What would Batman do? Get close and see if the target is a threat.

Target is male. Mid-teens. Dark hair. Pale skin. Leaning against surfaces as he walks. Appears injured and disoriented.

Minimal risk assessed. Approaching and attempting contact.

Target identity confirmed: Jason Todd.

“J-Jason?” It comes out as a croaked whisper. Jason shows no sign of acknowledgment.

Tim clears his throat, steps right in front of his path, and tries again.

“Jason. Jason, stop I want to help you.” Still nothing.

“Please, Jason. I can help, I promise I can help!”

Why isn’t this working?! Why can’t he just do something right for once?! He wants this to work, he wants to help Bruce, he wants to fix Batman, he wants to not be alone, he wants-

“Robin!”

Robin jerks to a stop.

Tim reached out his hand.

“Robin. Robin please, I’m sorry you’re going through this, it’s really scary, I’m really scared. But I just want to help you. Help you find Batman. Help you get home.”

Jason just stares at him. Of course he does. Of course it’s not going to work. Why did he even bother hoping he could help?

Hope only brings heartbreak.

His sight blurs as his eyes fill with tears and he starts to lower his outstretched hand.

His arm is slowed as a cold hand weakly grasps his own.

“Don’t… scared… Bat… help… Dad… help.”

A relieved sob tears out from Tim’s chest and he gathers himself together. He yanks his extra sweater off and gently pulls it over Jason’s cold shoulders. Jason lets Tim drag his arm over his shoulders to try and carry some of his weight.

“Okay, Robin. Yeah. Your dad will help us.”

Batman will solve everything once Tim gets Robin home.

[undreaming-fanfiction]

Steve and Eddie work together in an aquarium, and Eddie is losing his mind. He's in love, he's got the most embarrassing crush, but Steve doesn't even notice him.

They barely interact, and Eddie only knows Steve's first name. He doubts Steve knows he exists, he's just one of many tour guides (but he's amazing with kids and especially teenagers, so he's actually a great tour guide, thank you very much!)

Back to Steve. Steve, with his lean muscles, easy smile, thick hair and beautiful, but somehow sad eyes. That Steve.

The Steve who works in the aquarium as a merman.

Eddie could watch him for hours, floating in the tank with grace Eddie didn't know existed, with his sparkly yellow mermaid tail, flowing hair and chest hair, and that man can hold his breath for so long? Think of the options, the possibilities!

The mermaid show is insanely popular among all the kids and teens, even adults. His best friend Chrissy was the one who recommended Eddie to the aquarium, she's the main mermaid, and god, if Eddie wasn't gay, she'd have him at her feet. She always looks so effortless, twirling underwater in her emerald green mermaid tail, spinning around Steve. They make such a beautiful pair, it makes Eddie want to weep.

Fortunately, she's already in a happy relationship, so Steve is reportedly still single. Chrissy makes Eddie massage her feet in the evenings - he offered, they're cramping from a bad fit of the tail - and graciously answers all Eddie's reasonable questions, such as "how do his hands feel?" ("Wet. We're swimming, remember?").

She keeps telling Eddie to ask Steve out, but Eddie isn't stupid. That man is the god Poseidon himself, and Eddie is but a humble crab in his kingdom. So he admires him from afar, longing, pining and making Chrissy's head hurt.

But Steve's just so good with kids, Eddie can't keep his mouth shut. He always mutters something to Steve as he's ushering the kids away. "Great show, sweetheart," or "I love that smile, Stevie," or "need help getting that tail off?" He's only a man, and no one can hear him.

Except for a nosy tour coordinator listening in through his earpiece, Robin Buckley. She also happens to be Steve's best friend, Chrissy's girlfriend, and a menace to society.

And maybe one day she tells Steve to just smooch the tour guide, maybe she spills a few of the longing whispers and wishful stares, but she's only human too. A human who's had to listen to Steve's ramblings about the cute guy who always pulls the kids' attention like a magnet, who even through the blurry glass tank seems to be having an amazing time. Steve sometimes asks Robin for an extra earpiece and listens to the rest of Eddie's tour after the show. He loves his enthusiasm. Once Eddie even drew a heart on Steve's tank, can you imagine that, Rob?!

Maybe Robin and Chrissy have to work together to give the two idiots what they need, because Eddie considers himself too nerdy and plain for Steve, ans Steve thinks he's too dumb and shallow for Eddie.

Maybe Chrissy fakes slipping into the mermaid tank and drags Eddie with her. Maybe Robin is there and quickly gets Steve to jump after him. Maybe she makes the innocent mistake of insuating that Eddie can't swim.

And maybe, when Steve and Eddie are back on firm ground, confused and wet, Chrissy splashes them with water and asks if pretending that it's mouth to mouth resuscitation would help, or if they can finally kiss and stop pining for each other.

And one more maybe...maybe in a few weeks, when Eddie ushers the children away after the show, he kisses his palm and presses it against the tank, and watches Steve do the same, before he can give him a proper kiss after their shift.

[wonderjanga]

Marvel and the Street Kids

Billy likes helping people. Especially people who have, and are still going through something he’s also experienced. Hunger, brokeness, homelessness, if you’ve had to go through any of those things, Billy’s probably going to favor you more than most of the other people he’s saved. I mean, after all, he knows what all of that feels like. It’s why he helps out around soup kitchens a lot. It’s why he donates a hefty bit of his paycheck to homeless shelters and charities. It’s why he works to keep drugs off the streets, and crime at a low. He doesn’t want anyone, man, woman, or child to experience what he has. So, here’s a couple instances where he’s helping some homeless kids we know. (Btw this is the same AU as the Billy and the Robins post. In that post, basically Billy knew Dick and Jason when the two were both Robins) Roy: *in Speedy costume* “Hey Robin, who do you go to whenever you need advice?”

Robin!Jason: *in Robin costume* “Batman, why?”

Roy: “Right, cool. Cool, but what if you can’t ask him a certain question?”

Robin!Jason: “Oh, then I go to Marvel!”

Roy: “Marvel? Like Captain Marvel?”

Robin!Jason: “Yeah!”

Roy: “Huh. Uh… okay then.”

Robin!Jason: “Why do you ask?”

Roy: “No reason.”

Then, a little bit after Oliver kicked Roy out, Marvel was in Star City because Green Arrow needed him for whatever. As of now, Roy was walking down the street, upset because obviously. It’s been an about three days since he was kicked out by someone he considered his dad. All because he had a wee little problem with painkillers, and wee little problem with heroin. You’re supposed to help people who’re addicted. Especially if they’re family. You don’t just kick them out… right?

Roy: *walking down the sidewalk*

Marvel: *flying when he sees him*

Roy: *not paying attention*

Marvel: *flies down in front of him*

Roy: *bumps into Marvel* “Hey, watch where you’re goooo…wha…?” *slowly looks up until he’s craning his neck to look up at him*

Marvel: “Aren’t you GA’s boy?” *looks confused* “What’re you doing out this late?”

Roy: “What?”

Marvel: “Yeah! You’re uh…” *snaps fingers a couple times, thinking* “Speedy. Right?”

Roy: “Do I know you…?” *looks Marvel up in down*

Marvel: “Oh, my bad.” *holds hand out for handshake* “I’m Captain Marvel. I don’t think we’ve properly met.”

Roy: *doesn’t shake hand* “Well you already know me. I’m Speedy.” *shrugs*

They both talk. Marvel gets Roy to open up a bit after he gets the kid a hotdog. While they’re both sitting on a bench eating their respective hotdogs, (I saw the Marvel in civvies post and he’s wearing that exact fit. He magicked up the red sweater, the yellow hat, and the jeans so they could eat in peace) the archer remembers his conversation with Jason. So, he decides he might as well bite the bullet since his friend hyped up the guy so much.

Roy: “Hey… I gotta ask something.”

Marvel: “Hm?” *mid chew*

Roy: “You wouldn’t happen to know any good struggle meals, would you?”

Marvel: *finishes hotdog* “Yeah? I do. You wanna learn some?”

Roy: *hasn’t told Marvel about him being homeless now* “Yeah.” *takes bite of his hotdog*

Marvel: “Okie doki then.”

Roy: “You aren’t gonna ask why?”

Marvel: “It’s not really my place. Unless you want me to ask?”

Roy: “Nah, not really.” *finishes his hotdog*

Marvel: “Then I won’t.” *stands up* “Alright! To the nearest Chuck E. Cheese!” *points in a random direction*

Roy: *also stands up, raising a brow at him. Moves Marvel’s arm in the correct direction* “Why are we going to a Chuck E. Cheese?”

Marvel: “You’ll see. Cmon!” *starts jogging in the direction Roy corrected him to*

Roy: “Dude, wait up!”

When they’re now outside the Chuck E. Cheese…

Marvel: “Alright. So, here’s what you’re gon— Are you good?”

Roy: *out of breath because they just ran about three blocks* “Yeah… Yeah. I’m good. Just uh— gimme a sec.”

Marvel: *gives him until he feels better*

Roy: *looking better now* “So, what were you saying?”

Marvel: “Right, so what you’re gonna be doing is, see those tables?” *gestures to the booths through the Chuck E. Cheese’s windows. Some booths have leftover pizza and chicken wings in them*

Roy: *nods head*

Marvel: “Okay, great. So you’re gonna go steal all of that.”

Roy: *blinks at him before the most befuddled, bamboozled, puzzled expression crosses his face* “What?”

Marvel: “You’re going. To steal. All of that.” *gestures to the tables again*

Roy: *looks between Marvel and the tables* “Dude, I am not stealing scraps from the fucking Chuck E. Cheese tables.”

Marvel: “How else do you expect to get food then?”

Roy: “I don’t know! I expected you to teach me some cheap recipes or something stupid like that!”

Marvel: “Oooooooh, so you don't want struggle meals then.”

Roy: “No, I do. A struggle meal is something like a ketchup sandwich. This is way worse than a goddamn struggle meal.”

Marvel: “You and I clearly have different definitions of a struggle meal, but okay. Also, chill with the cursing, man. I can teach you something cheap if that’s what you actually want.”

Roy: “Okay then, thank you, because the day I need to steal scraps from a Chuck E. Cheese, is the day I lose my dignity.”

Marvel: “Yeah, yeah, come on. Let’s just go to a grocery store.”

Then, there was Cassandra Cain. She was homeless for about nine years before she went to Gotham when she was seventeen. During her homelessness, she never really stayed in one place. One of the places she ended up in was Fawcett when she was about sixteen. There, she met Captain Marvel. She man saved her from a mugging she was about to take care of herself.

Marvel: *staring at her because Solomon’s whispering about how she’s worthy*

Cassandra: *staring right back, picking up confusion in the man’s body language*

Marvel: “What’s your name, miss?”

Cassandra: *stares blankly at him* (Guys, this is before she learned most stuff. So she has no idea what he’s saying and has to go off of body language alone.)

Marvel: *stares back* “Can… You not speak?”

Cassandra: *continues to stare blankly*

Marvel: *sighs* “I’ll take that as a no.” *reaches into pocket dimension*

Cassandra: *startled when she sees half the man’s arm disappear*

Marvel: *pulls out some money and puts it in one of her hands* “Please take this. I can tell you don’t have a home. Starving isn’t fun.”

Cassandra: *sees understanding in Marvel’s body language and looks at the money in her hand then back at Marvel*

Marvel: *hovering off the ground* “Stay safe, miss.” *gives her a little wave before flying off*

Cassandra: *watches him go*

They meet more times after that, and soon, Cassandra ends up being one of the many homeless kids he checks up on. Cassandra comes to enjoy the man’s presence, and Marvel comes to enjoy hers as well. She eventually gets a really good read on the man after a while and he gets a good read on her. She even mimicked the man’s bodily expressions sometimes with a nod here, or a shrug there. Marvel even got to learn her name after she gestured to one of the other kids who had a cast on their leg. He guessed a couple times before he got her actual name. They ended up having to charade it, Beetlejuice style.

Marvel: “Cassie?”

Cassandra: *makes a so-so motion with her hand* (something she picked up from the man) *makes a motion that was supposed to convey it was longer*

Marvel: “Longer…?” *pauses to think for a solid 20 seconds* “Cassandra?”

Cassandra: *gives him a thumbs up* (another gesture learned from him)

Marvel: “Wait that’s actually your name?” *body language shows he’s happy he got it right*

Cassandra: *blankly stares* (Again guys, she has no clue what he’s saying)

Marvel: “Oh, this is awesome!” *body language shows he gets happier. He starts yapping about stuff*

Cassandra: *listens even though it’s all gibberish to her*

Cass liked that she could depend on someone. The man was… sunny. That’s the best way to put it. She liked listening to him talk. He never expected an answer or response. She liked that. She also liked that when she did try to respond, he was patient and did his best to try and understand her. Their friendship (sort of father daughter thing) continued until she was almost seventeen, and soon, things came to an end.

Marvel: “You’re leaving?” *body language shows concern*

Cassandra: *saw him look to the backpack stuffed with things for the trip to the next town. she nods her head*

Marvel: *body language shows disappointment for a moment before acceptance* “I see.” *gives her a warm smile* “It was nice knowing you, Cassandra.” *gives her same little wave he gave her when they first met* “I hope we get to meet again.”

Cassandra: *waves back unlike the first time they met and leaves*

They actually met again, unbeknownst to Marvel, when he was in Gotham to help Bruce with something. They got paired up together to go and do something for the mission.

Marvel: “You know, you remind me of this girl I knew from a while ago.”

Cassandra: *silence and a stare because she knows he’s talking about herself*

Marvel: “Yeah, she would’ve done that same blank stare too.”

Cassandra: *wondering how he knows she’s pulling the same face as herself*

Some goons decided to interrupt them before she could figure that out.

[acid-ixx]

brutus: both arms cradle you now (villain au concept)

ft. yandere! harley quinn (brief mentions of the poison ivy and catwoman) x gn villain! reader

— masterlist !

reblogs and interactions are encouraged and appreciated.

"so, you're saying you hate the batman, for personal reasons, cupcake?"

you've never expected to have a therapy session with one of your mentors who took you in.

harley quinn, the girl who took you into her abode right after she found you bloodied and laying in a crimson bath of your own one faithful night; death your only comfort.

she, alongside her other company, are well-known people within gotham's criminal gallery. she's known to be obsessed with her ex back then, chasing after his toxic love despite hers being consistently thrown away, she's been seen fighting, or even sometimes helping your father when he's wearing the cowl just to find the joker, she dons clown makeup and displays athletic talent for combat—

she's not the type you'd expect to be well-versed with a person's mental health, with her playful attitude and bouncy steps, but with the way she notices your uncomfortable body language whenever you stumble upon the bat, or how you simmer in silent rage watching him care for his vigilante partners during times they get injured; you'd have to admit she's more than qualified to ask you sensitive questions nobody ought to ask a violent criminal like you.

you don't know it, but you share far more similarities with the girl than you thought; chasing after love never once reciprocated, she has every right to know what makes you so triggered seeing the vigilante every damn time he's within the vicinity.

she has every right because she's the one who saved you when you thought your life would be all over.

when you believed that that day would be the time your soul would leave your body, you'd suddenly awoke to her gentle coos and her retelling her company on how she stumbled upon you. and another woman's palms are on your heated forehead, an unnatural shade of green, yet she helps swipes away your hair for your head as she listens intently to harley's story; she gazes at you just as softly as the other. she's seated right beside a familiar face, too, with cropped, jet-black hair and cat-eyes. it was her expensive duvet that you lay on.

it was there that they coddled you collectively.

they've been your saviors then, and your mentors ever since. it's what you've never asked for, to be cared for by criminals who fought on the opposite side from your fathers, but you've been craving affection your entire life that you'd never once complain about.

now, in the same apartment, her question lingers in the back of your head, you feel goosebumps rise on the topmost layer of your skin, and your heartbeats hasten against the cage of your chest.

despite that, she merely looks over at you, her eyes held a calculating gaze. it's not exactly nerve-wracking like batman's whenever you had your occasional encounters with him, but you can tell she's psychoanalyzing every aspect of your being.

like a therapist for most, but to you, she does so because you know she cares.

gone was the ditzy smile she likes to wear on her playful lips, or the active, bouncy lilt she has whenever she sits upon the swivel chair to talk to you. she stares at you, with piercing blue eyes and furrowed brows, nitpicking every reaction you conjure.

it seems like now's the time she wants to open up with such a sensitive topics.

especially right after the incident where you cried after watching batman speak to the youngest robin, with the sweetest, most poisonous tone you've ever heard from the man. it makes you want to vomit watching it, makes you wish to shrivel outside-in your costume and burn until you're mere embers.

you ask yourself, 'do i hate him?'

truth is...

god, you wish you do. but you're different now.

you have new people to care for you, now and you'd rather throw away that heart wrenching life you had back in the past. batman is nobody to you now, you wish you could lead yourself to believe that he was just your usual opponent, nothing more, nothing less.

yet you merely shift on your cushioned seat, ignoring the blaring telltale signs in your head to stay silent, and reply to her albeit the unsureness in your tone. your words taste bitter, sour, salty, and no way sweet. every unpleasant flavor swirls in your tongue in a cacophony of emotions; and you wish to cry the longer you speak, tongue-tied and wishing to will away the ache in your chest.

"i don't hate him, harley, at least not anymore... it's different, i don't know what to feel about him. maybe it's rage, maybe i want to exact petty revenge on him because of my past with him. don't know. it's all complicated..."

"if it's not hatred, then it's something else, no? you feel something deep within for him, don'tcha, sweetheart? you can't lie to me, you're hurt, and scarred, because of him and his other vigilante partners, i can tell."

she replies, quicker than you do, with empathy and comfort laced in every syllable of her words, and you're taken aback at the kindness and understanding. your eyes flutter away from her worried ones, and you look down to your clenched palms and feel the callouses from all the harsh training you've conditioned yourself to endure, dismissing the way she stands from her chair to walk over to you.

hurt... that's true. you're hurt, and all the emotional scars that lay within you are still open, bleeding, and it aches deeply. every time you build new memories with these people, the pain of the past overpowers whatever improvement you make in life; as if it's haunting and taunting you.

when she kneels down to the level of your lap, just right beneath your vision so you could see her beyond the layers of hair that cover your watery eyes, you see her soft gaze and find her dainty fingers holding your palms, ones you didn't notice dig nails deep into skin until the rivulets of blood escape.

when she squeezes your hands, you follow along the patterns of inhaling and exhaling through her squeezing, a silent session with her to help you calm down from your foreboding emotions; your hastened breaths and brimming tears. you've been so used to ignoring all your emotions that you forget what panic attacks felt like in so long, not until you discover that you've been having small bouts of it every day; not until you realize how it's always your mentors comforting you through every one of your silent sufferings instead of ridiculing you for it.

"calm down, cupcake... i just wanted to know why, so i, alongside the girls, could help you through your emotions. what type of mentors are we if we can't help you, no? you've been so tense lately, we couldn't even see your cute, little smile these days. so don't forget you're still allowed to cry, sweetie... let all your emotions out, 'kay?"

she speaks, with a gentle timbre in her voice, and you allow her to embrace your form, one you didn't realize was shivering until now. yet you still bury your head further into her body without shame and allow yourself respite for once; allow yourself autonomy to be controlled by repressed pain and sorrow you've tried to bury deep into the marrows of your bones and the cages of your heart.

and now you realize why, why you're all crying all the same like last time, and you simply cry for longer at the realization.

because what contrasts with love, was indifference, and never hatred. you once loved batman, bruce, with all your heart because you're his kid, and your momma taught you to love without any expectations. but he sees you with indifference, with nothingness. no care, no emotions or opinions about you, unlike harley's who holds you in her arms and comforts you throughout your lengthened crying.

he doesn't even look at you. the thought bothers you more than ever.

"it's— you're right," you whisper through your hiccups, burying your head further on her stomach as her right hand plays with the strands of your hair, scratching your scalp in a comfortable pattern. she hums as a reply, and allows you to continue.

"i'm hurt, harley... it's so painful just thinking... thinking about how much i'm in pain because of him... but he's, he's—"

"shh, you don't have to force yourself to open up anymore, sweetheart."

when she releases her hold on you, you let out an embarrassingly loud cry, hands swiftly trying to pull her back to embrace you; too desperate to let go, too paranoid that this is all a dream, you wish to sink into her warmth forever.

but she holds you back, just as quickly with her warm palms at your wet cheeks, and looks at you. like you're her savior, her peace, and her everything.

her next sentences satiate the foreboding hunger in your heart, one too starved, one that craved and wished to take what it never have.

she feeds you with love and affection too sweet that it rids the bitter taste in the back of your throat and the bile that slowly rises every time you reminisce.

"i get'cha, sweetie. you wanted something from him you can never have, and when he didn't give you that, it destroyed you entirely you felt like you can never pick yourself right back. been there, done that—"

"—but look at where we're both at now! living the best of our lives, doing fun, risky heists and making ourselves happy with what we think is good for us, no? you get where i'm getting at, right?"

you don't. you feel like melting into her hands and never leaving. she gives and you take, take, and take everything she offers you.

and she knows you don't understand, so she continues rambling knowing you'd grasp into every word she says, not once breaking eye contact with you. she stares fondly, you gaze back reluctantly, unaccustomed to the affection your mentors shower you with. but you don't pull back, she becomes sad and sulky when you do.

you want her to be happy.

"sweetheart, i'm telling you the past is past! get him away from your mind and throw all the thoughts about him away! if you were nothing to him, then he should be nothing to you, easy as pie."

"you deserve better people in your life, like me, and pam, and selina. i can tell you're rough around the edges but that doesn't mean you should strip yourself away from any privilege to be cared for and loved for by people who love you as much as you love them. he's nothing to you now, alright? it's painful, but you can move on from him. i trust you can— you know why?"

harley questions you, with all the confidence in her tone, taking your head to lay it on her body again, positioning it so you could hear the buzz heartbeat, you bury yourself deeper into her warm body and nuzzle into fabric. your heart hastens, but it wasn't panic, it wasn't even fear or hurt, but a drive and motivation that burns deep inside of you; that this is what you always wanted, and needed to protect, and what she generously provided.

all her words echo through your head like it's the truth, your holy grail.

"you have us now, sweetheart. to love, to guide, and to protect you. we're everything you need now."

and you believe her like she's god.

just this once, you do. you're allowed to hope, to dream, and to finally feel special. to be embraced like the fantasies you had in the past, to be held and comforted through every gut wrenching experience, just as she does, now.

for once, you allow yourself to be loved, even if it means it's by the same hands that stain itself with blood, all shed in the glory of your name.

a/n: happy halloween! i was laying in bed and suddenly had thoughts about this. i don't like this drabble at all ngl erm 😭 this post is related to events prior to the out for blood chapter (idk if i should make it canon to the plot or not) and what i said in this fanart post. despite this not being my favorite piece of work, i like writing about other charactersn too though, especially when they're so soft to the mc. so yeah! if you guys like more of this, please do comment since idk what to feel about this.

[heavysighing-dreamyeyes]

Ever Since We Met

Spoiler: Jason dies in the warehouse. ~1.5k words

Jason Todd is six years old and snot nosed when he falls in love with his best friend. Sure, he doesn't exactly know what love is, but he makes sure he's standing next to you when the class lines up so he can hold your hand.

He gets a weird feeling in his stomach (he’s not completely convinced that it’s jealousy, despite what the teacher tries to explain) when you follow other kids around the playground instead of him.

But, he does recognize the excitement he feels when you seek him out to be coloring partners during class instead of the girl sitting next to you.

He loves you as much as a six year old can. Especially when he gets to sleep over at your house and you turn your bed into a fortress of blankets and pillows for you both to sleep in. Those nights are his favorite, and you both drift off to whispered stories and hushed giggles.

Jason Todd is ten years old and getting used to growing pains when he develops a crush on his best friend. At least, he thinks it’s a crush. It feels different than being in love, even if he hasn’t quite grasped the fact that he is in love.

He's more hyper aware of what he does now, how he treats you. Sometimes, the way you smile makes him stumble over his words, and his face go hot. He distracts himself and you from it by asking about homework or that one TV show you that you watch on Saturday mornings.

Jason decides he likes that you’ll press to his side when you’re reading, lost in your own worlds together without a need to fill the silence, crush or not.

He likes that you’ll trade half of your sandwich for his and sneak him doodles and notes during class. (He won’t admit it, but he keeps them in a box under his bed. Sometimes they’re the only reason he doesn’t run away from it all)

He doesn’t bother to mask his obvious preference for you, even when the other kids try to tease him for his crush.

You’re always quick to threaten anyone who tries to put him down, anyway, and he’s more than happy to do the same for you. And when you offer him a high five for scaring off some of the older kids, He decides it doesn’t matter if it’s a crush or not, as long as you stay his best friend.

Jason Todd is twelve when he becomes Robin. It’s hard, well, not being Robin, that’s a magic entirely its own, but being away from you.

He lives in a manor that's bigger than the entire floor of the apartment building he used to live in. He's learned how to do a backflip while throwing a punch in midair. He has more at his fingertips now than he's ever had in the entire first eleven years of his life.

But he misses you. Sometimes, it feels like a phantom limb. Something he's always reaching for, but never quite grasping. It helps that you've gotten a scholarship to his new school, but it's still not enough.

He can't explain it, but he gets greedy for your time. You don't seem to mind the sporadic hangouts, or how often he has to cancel or leave. He kind of wishes you would, just to show that you care as much as he does.

He redoubles his efforts to be a good Robin when you tell him about the dealer that moved into the apartment next to yours. He resolves to be a better friend when you tell him the fancy suits he has to wear to galas look good on him.

His feelings don't change once, even if he hasn't quite found a balance between vigilante and civilian, he knows you're the one thing he can't let go of.

Jason is fifteen years old and about to die when he realizes the person he wants to see most is you. He's always known it, in the back of his mind, but as the blaring red numbers tick lower and lower, he just wishes he could hear your voice one more time.

It's you. Always been. And he's never said it. Never let you know.

His body aches. His leg is twisted the wrong way. His breathing is shallow and raspy. His vision is blurring, and he wants to live. But his mom is still trapped in this warehouse with him, and he's Robin. Robin helps, and that's what he'll do.

Jason drags himself to his mother's side to help, moves despite the gnawing, indescribable pain with every movement.

He's still trying to help, trying to sheild her from harm, as the numbers drop to zero. Zero. Zero. Zero.

What happens next doesn't hurt more than anything else did. And he has enough time to picture the color of your eyes before it all goes to black.

Jason Todd is eighteen when he dons the name Red Hood and becomes Gotham's biggest crime lord in a matter of months.

He stays far away from you, even if your memory has haunted him since the moment he woke up in that cursed pit. (and if he tries to remember, the moment since he first woke up in his own grave)

He's eighteen still, when his empire crumbles and he's left without a path, a purpose. He carries the weight of his years with the league, sags under the strain of not knowing who he is anymore.

He stays far away from you, sticks to the cracks and shadows of Gotham until his name is no longer whispered in fear. Then, and only then, is he brave enough to take off his helmet in front of you.

It's a relief and a terror all at once to finally see the color of your eyes from something other than a memory, and when his heartbeat starts to stutter, he knows he's never really grown out of being in love with you.

You've gotten older. (He shouldn't be surprised, he has too. He just always pictured you growing old together)

Your eyes still light up like he's your favorite person in the room. (He thinks he's allowed to be surprised about that)

But it's when you breathe out that he's home, that he figures out you've been waiting for him. Neither of you seem to know what to say after that, but you don't run for the hills in terror. And for the moment, that's enough.

Jason is twenty-one and passing the first (legally) acquired bottle of alcohol you've ever bought. You laugh about how it still tastes the same, and his heart nearly leaps out of his chest at the sound.

He loves you. It sings in his blood, settles on his tongue, he just doesn't know how to say it. He shows it, or at least he tries, but sometimes he's still waiting for this all to be a dream. It should have been impossible, how easily he slipped back into your life.

It was easy. So easy. Everything was easy with you. That's probably why he spills his guts.

He doesn't quite say it the right way, doesn't manage to get the word 'love' out. But he says enough to get his feelings out.

It's not poetic, not grand as you deserve, but somehow he manages to articulate the way butterflies create a hurricane in his stomach when you're around, how his gaze is always drawn to you, how he can't help but lean into the sound of your voice, the warmth of your touch.

Maybe he says a little too much about how he's been head over heels since the day you've met, because you just stare at him.

He's almost ready to run, to blame it all on the one measly shot he's had. This is, until you kiss him. And oh, it's everything he never dared to dream it would be.

It's a little messy, sure, the angle a little strange as you crane across the couch to tangle your fingers in his hair. But it's perfect, it's you, and Jason falls in love all over again.

Jason Todd is twenty-three and still learning how to say I love you. It's not that he loves you any less, if anything, he loves you now more than ever. It's just still something he's getting used to.

Love is something you've given to him so freely, something he's happy to return. But it scares him, sometimes. He worries that if he says it out loud too much, the universe will realize how great of a gift he's been given, and rip it away.

It might be irrational, but he holds the word love close to his heart anyway, unwilling to test fate anymore than he already does by putting on that red helmet.

He whispers it to you in the dead of night instead, says it with touch instead of sound, shows it with soft, shine of his eye. He squeezes your hand when you say it to him, does his best to make it clear he feels the same, even if he can't get the words out.

He'll get it eventually, figure out how to get it off his tongue. He has to.

Especially if he wants to show you the pretty little band of shining, precious metal he has tucked away in a velvet box.

[dwobbitfromtheshire]

Robin might platonically marry Steve, though it's not the only reason, just so she can say dramatically in an argument:

"That's it! I'm divorcing you, and I'm taking everything!"

It's usually only said when they're playing monopoly. Steve would respond with:

"Fine! But I'm keeping your last name and the kids!"

"I never wanted them in the first place!" Robin shrieked.

"What a rude thing for our dad to say," Dustin said.

They were eating popcorn and watching the whole thing unfold before them.

"Well, it's not like we don't all have daddy issues," Max said. "Except for Lucas."

"What am I looking forward to with that? Any advice?" Lucas said.

"Don't date older men," Max said. "Especially ones who are old enough to actually be your father."

"You mean the same age as Robin?" Lucas asked.

"Yeah," Max said.

"Damn, there was this cute college guy - "

"Cheating whore!" Robin shrieked.

"And here it comes," Max grinned.

She hollered and flipped the table.

"Yeah, that's right, I cheated. Dustin isn't yours!" Steve yelled.

"I knew it!" Robin gasped.

"Okay, so when Dustin said that things get intense with Steve and Robin during Monopoly. . ." Nancy said, trailing off.

"Yeah, he wasn't kidding," Jonathan said.

Eddie was gaping with Jonathan, Nancy, Vickie, Chrissy, and Argyle while the kids watched from the sidelines.

"Who else isn't mine?! I bet it's both Mike and Dustin. They both could be Eddie's! Look at them!" Robin yelled.

"Babe, I swear, I didn't touch Steve," Eddie said to Chrissy.

"Okay, first off, Dustin and Mike are not actually Steve’s sons, and two, this is just a game," Chrissy said. "Also, Steve can't get pregnant."

"Oh no! Did the doctor say why?" Eddie asked with a gasp.

"Eddie? Did you smoke with Jonathan and Argyle without me?" Chrissy asked.

"Totally," Argyle said.

"The wedding rings were a nice touch," Nancy said.

"Oh, no, they actually got married. I was the witness!" Vickie exclaimed happily. "I got to kiss the bride!"

"What?!"

"We were at Steve's house when Steve's parents came home and immediately started ragging on Steve about what a disappointment he was, that they were his only family. . .blah, blah, blah. Anyway, Robin was like "not anymore" before dragging him out of the house. We went to a wedding chapel, and I watched as my girlfriend married her platonic soulmate," Vickie said. "It was a beautiful ceremony. Didn't you notice that Steve took her last name?"

"I thought he kept calling for Robin whenever someone said Harrington," Jonathan realized. "He was correcting them."

"Buckley!" Argyle laughed.

"Yeah!" Steve and Robin yelled, looking at them.

"Holy shit," Dustin muttered.

"Well, hey, we're no longer bastards," Max said. "Except Mike. There's no fixing that."

"Hey!"

[a-bad-case-of-the-stephs]

There is an idea that Stephanie Brown was crime fighting as The Spoiler for fun, that she saw it all as a game. This reading isn't out of nowhere, it's supported by the things she and other characters say, especially in War Games (2005). However this understanding of Stephanie Brown's actions doesn't account for the large majority of her time as Spoiler, and oftentimes directly contradicts things she says or does.

This is important because how we understand why Stephanie keeps acting as The Spoiler informs what is true about the character. If she's doing it solely for kicks, it's not exactly unfair to call her a reckless idiot who should have listened when Batman and Robin told her to go home and stop wearing her costume.

So, should she just have listened when she was told to go home over and over again? Did she never take crime fighting seriously? Or was she battling against her father's sins to prove herself worthy? Or is there something else entirely going on? It seems like even Stephanie doesn't know at times:

Robin #40 (1993)

There are points where she makes light of her involvement, likening it to something she's doing for "the fun":

Robin #5, Robin #25 (1993)

And times where she rejects that same premise utterly:

Spoiler/Huntress: Blunt Trauma (1998)

It's very tempting to see this as character progression, she starts her first appearance in a Robin comic calling being Spoiler a "goof" but by the time Cataclysm rolls around, she says she isn't doing it for "the fun of it". However, this idea doesn't align with her first appearance and attitude at all.

I'd like to propose a reading which can account for the multiple reasons stated that she returns time and time again to being the Spoiler: the Spoiler represents Stephanie's agency and serves as a way for her to empower herself.

If we're determining why Stephanie Brown is Spoiler, we have to start where she starts, analyzing the her first appearance, and her motivations for creating the Spoiler mantle.

Stephanie's anger at her father + feelings of helplessness and lack of agency + desire to protect others = The Original Spoiler

I’ll stick to only evidence and panels which refer to or depict her time before becoming the Spoiler, or during her very first Spoiler "mission".

Let’s break it down

1.Stephanie Brown's Anger at her Father

This one's pretty self explanatory. I'll get into how her hatred of her dad has to do with Stephanie's feelings of helplessness and self loathing later. But for now, Stephanie's anger at her dad is pretty clearly one of the main things motivating her very first Spoiler appearance.

Detective #648

2. Stephanie Brown's Lack of Agency

Her father is an abusive piece of shit to Stephanie and her mother. He never stays in jail for long, and now that he's been cured of his clue-leaving psychosis, he might not go back at all.

80 Page Giant: Secret Origins (1998)

Her mom is, as Steph sees it, hopelessly addicted to her pills and drinking, Steph is unable to help, as she states: “talking to her didn’t do any good”

Detective #467 / 80 Page Giant: Secret Origins (1998)

Creating this costume and persona is not only a way to get back at her dad, it’s about her seizing power, it’s a decision to have agency, to no longer be helpless. She is no longer a passive observer in her dad's crimes, she is the force actively 'spoiling' it.

In her first story as Spoiler, we see that culminate to a dark point: she’s so desperate to have some control of her life and by extension, her father who has been robbing her of it for years, that she nearly kills him.

Detective #649

When Stephanie became the Spoiler for the first time, it was about her anger at her dad, and finally having control over his influence over her life.

But most crucially, her first appearance as Spoiler is also largely about her desire to help others.

3. Stephanie’s desire to protect other people

This is established solidly in her first appearance as the Spoiler. She states that she was stalking her father “trying to make sure nobody got hurt”

Detective #468

And later in the same introductory arc, she only jumps into the fight when Batman’s life appears to be in danger:

Detective #469

This applies to her mother too, who she sees herself as responsible for protecting.

Stephanie identifies her father as a trigger for her moms struggle with addiction, and the same shot which shows Stephanie sewing together her first Spoiler costume also features her mother, sleeping next to an empty glass and pill bottles.

80 Page Giant: Secret Origins (1998)

The 80 Page Giant furthers this idea by recontextualizing the scene where she jumps into the fight with her dad in Detective #649 by adding her internal monologue in that moment: clearly reframing her actions through the lens of this protective instinct towards her mother

80 Page Giant: Secret Origins (1998)

I'm sticking to her first appearance backstory stuff primarily, because for now I'm just making a case for her original reason for putting on the costume, but I think it's worth it to mention something Steph says about "one of the first" missions she gave herself as Spoiler.

Steph says she made it one of the very first missions she wanted to achieve as Spoiler to track down the man who nearly sexually assaulted her as a child. Despite the fact that she was severely traumatized by this (unable to stand being alone with men for years afterwards) she didn’t try to do so out of revenge, but specifically because she knew he would go after more young girls.

Robin #111 (1993)

She first becomes the Spoiler in order to stop her dad from hurting her mom, herself, and other people any more than he already had. But why does she keep going? Especially, why does she keep fighting crime after her dad is locked away in prison?

And if she's Spoiler because of her genuine desire to help people, and her anger towards her dad, and her feelings of helplessness, where does the idea that she does it for "fun" come from?

Contextualizing "The Spoiler" as a way for Stephanie to give herself agency is the strongest reading which answers both of those questions.

Much of what we see Spoiler do, is directly paralleled to what Stephanie cannot.

The most obvious example is her stopping The Cluemaster.

Stephanie Brown might be stuck with an abusive, criminal dad who never stays in jail for long, but The Spoiler can make sure he doesn’t hurt anyone else.

80 Page Giant: Secret Origins (1998) / Robin #111 (1993)

But there are more covert examples of this as well.

Stephanie Brown might not be able to make her mom get clean, only able to watch as she seems to succumb to her addiction over and over again, but the Spoiler can confront and potentially stop her gymnastics coach from dealing drugs after one of her classmates overdoses, in a way which is shown in conjunction with Steph's relationship with her mom.

Showcase '95 #5 (1995)

Her rage at being misled by her gymnastic coach, her anger at him for betraying the kids who "looked up to you", mirrors her anger at her mom in this same comic for how her struggle with addiction has affected their relationship. Spoiler attempts to do what Steph wishes she could: fight and defeat addiction, as a proxy for her desire to help her mom, and her frustration that she can't.

Stephanie Brown might be in a relationship with a selfish asshole, but as The Spoiler, she gets the attention of a smart, honest, good guy:

Spoiler/Huntress: Blunt Trauma (1998)/ Robin #80 (1993)

Robin (debatably) is the one who instigates this idea. (Kissing a girl on the mouth, even if i was out of relief for her saving your life, sort of sends mixed signals as to whether or not she has a shot.)

Robin #5 (1993)

Tim himself juggles with the fact that he both feels a responsibility to discourage Stephanie from acting as Spoiler, but doesn't, because he doesn't have an excuse to hang out with Steph, but he can spend time with her when she's Spoiler.

Robin #41 (1993)

Stephanie Brown doesn't get loved, doesn't get understood. Not by Dean, not by her mom, and certainly not by her dad. But Spoiler? Spoiler seems has a real shot.

Steph doesn't really feel like her mom cares, and she knows her dad doesn't. She wants to feel powerful, she wants to feel useful, she wants to protect people, and she really really wants to be loved.

She sees Spoiler as a way to achieve all these things, and that’s how she uses the identity.

Therefore, the Spoiler feels empowering, specifically in contrast to Stephanie Brown and her garbage home life and her helplessness and feelings of inadequacy.

This ties into something I haven't really explored yet, Stephanie Brown's canonical self loathing. This seems to linger in the periphery of her earlier time as Spoiler, but picks up significantly during and after her pregnancy arc.

She's dealt with blaming and hating herself in her past, we get a mention of how she had to overcome believing she was a bad person in the wake of her nearly being sexually assaulted:

Robin #111 (1993)

And she deals with feeling of inadequacy and self hatred again and again in her time as the Spoiler as well.

Steph refers to her boyfriend, who is unable to tell her his real name, share the majority of the stuff going on in his life with her, and who always has to wear a mask around her, as potentially "too good" for her. I don't care how cool and nice you think Tim Drake is, I think this is definitely indicative of at least some self esteem issues.

Robin #57 (1993)

Her self esteem issues become more clear during her teen pregnancy arc. She tells Tim straight up that she would understand it if he had cheated on her/left her.

Robin #59 (1993) / Robin #62 (1993)

This ties into why she acts as the Spoiler as well.

Stephanie blames herself in part for her dad's crimes.

She obviously didn't make Arthur Brown commit his crimes. This is just another instance of Stephanie's self loathing informing how she acts, in this case, being part of her rationale as to why she is Spoiler.

Robin 80 Page Giant (2000)

As Stephanie, she was helpless to stop Cluemaster from abusing her mom, unable to stop how his presence pushes Crystal Brown further into her addiction, unable to stop him from hurting other people and herself with his crime. This lack of agency explored earlier combined with her self blame leads her to believe it's her job as the Spoiler to "make up for" the bad she wasn't able to stop before, a responsibility which is obviously not on her. We see this also in the 80 Page Giant: Secret Origins (1998), where she briefly refers to 'spoiling' his plans as "her job", in a way that indicates a degree of responsibility.

It's no wonder that Stephanie becomes so attached to the Spoiler mantle. As Stephanie Brown, she is helpless and unable to control her environment, and she deals with thinly veiled self hatred and blames herself for this helplessness. But Spoiler gives her the opportunity to take control. That's why she returns to it time and time again, against the wishes of pretty much everyone.

This reading also aligns with the instances we get where Stephanie is portrayed as doing crime fighting for "fun". While I think its clear enough by now Stephanie clearly isn't out there for "the thrill", it's absolutely no surprise to me that Stephanie refers to it as a "rush".

It's, quite frankly, a little bit of a power trip. Of course it feels fucking fantastic to finally have a say, to no longer feel useless and helpless and guilty, to finally get to do something about all the shit that used to crush her. To finally stop feeling helpless and worthless, to have a chance at being loved. It probably feels fucking fantastic!

Why in god's name would she ever want to give that up? For her, I think its a very easy choice, the potential danger of acting as Spoiler brings upon herself doesn't factor in all that much at all.

The Spoiler as a symbol of Stephanie's Agency theory accounts for the multiple different and somewhat contradicting explanations we are given for why Stephanie acts as Spoiler.

I want to emphasize that this is not a bad thing, and also not entirely selfish. Agency means the freedom to go after the guy who she was powerless to meaningfully stop as an 11 year old (telling her asshat of a dad about it only got her yelled at and dismissed), but who might still be out there preying on other young girls. Spoiler means having the agency to protect her mom from her dad. Spoiler means having the agency to protect her neighbors.

But Spoiler also means this 15 year old girl gets to feel strong and loveable and worth something for the first time in a long time.

[lizbetlovesbyler]

my biggest personal byler proof is just how much they remind me of my first queer relationship before we started dating

queer characters are incredibly easy to fuck over, even without intention. often spelled out or intensely sexualised to prevent misunderstandings for a mostly heterosexual audience, queer storylines are exaggerated and thus become unrealistic.

stranger things doesn’t do that with its queer characters. take robin:

this scene is done beautifully. genuinely beautifully.

robin admits her feelings for tammy and how she locked them away, not just because tammy didn’t like her back, but because she is a queer girl in the 80s. her feelings are unnatural and unwelcome in hawkins.

steve’s acceptance of robin in this scene makes people forget how horrifically this could have ended:

As for Mike and Will

you don’t write a perfect representation of mutual teenage queer pining between childhood friends by accident.

queer pining is quiet and suppressed (especially for young people and ESPECIALLY in the 80s). It is unhealthy to suppress these feelings the way queer people tend to, it’s beyond the typical “secret crushes” straight people experience. queer pining can destroy people when they’re not supported.

through robins character, and wills arc in season four, we can see clearly the duffer brothers understand the nature of queer love, and wish to do it justice.

will ending up with some random last minute jock is unrealistic and does not do his character justice.

mike staying in an insecure relationship, constantly worried his girlfriend will grow out of him and leave him, rather than accepting will’s unconditional love for him, accepting his own love for will and letting himself be who he is, does not do his character justice.

even so, if they tried to set up byler in a way that would come across clear to the GA, it would, by default, become unrealistic and unrepresentative.

neither are yet able to admit to close friends and family they are queer, but they are supposed to convey that part of themselves to an (understandably) dense/heteronormative mainstream audience?

queer teenage love is not the same as straight teenage love, it doesn’t shock me that the majority of the audience isn’t able to pick up on byler beyond wills feelings, and they’re not supposed to.

we all say what we see, they don’t see the queer love brewing because they’ve never experienced it, they’ve never been mike and they’ve never been will. they’ve been max and lucas and nancy, steve, jonathan, etc etc

doesn’t make their heteronormative perspective accurate, they are just straight. they understand will and mike the same they do lucas and dustin. mike says they are friends, they have no reason to think otherwise. they do not know what queer love actually looks like, the duffer brothers do. the actors do. we do.

you are not delusional. you are queer.

if byler was widely agreed upon at this point in the story, it would not be an accurate representation of queer romance. that is the point.

my moneys on the latter and they better get every award for it.

[brucewaynehater101]

Tim with hannaki disease

spending his childhood choking on flowers

Barely able to breathe rejection after rejection

Jason is attacking him at the tower and he can’t stop coughing out flowers

when dick gives Damian Robin, Tim leaves the cave spitting out petals

imagine if he died of suffocation during the Bruce quest

Fuck. I love hanahaki disease.

Tw: death, blood, asphyxiation, fictional disease, dead body description, gore

For those of y'all unaware, it's a completely fictional disease where having unrequited love results in the person growing flowers in their chest. It's usually romantic, but I prefer the platonic versons (especially child-parent angst, holy fuck).

I've seen two types of hanahaki:

The love is actually unrequited

The person only perceives the love as being unrequited

Either way, the progression is as follows:

Person coughs up one petal

They start coughing up more and usually blood

They cough up an entire blossom

They die trying to cough up the entire flower (blossom and stem)

There are four outcomes to hanahaki disease, depending on what rules you are working with:

Love becomes requited

Person dies

They have a surgery to remove their ability to have feelings

They lose (voluntarily or not) their memories about their unrequited love

Some people play with flower meanings of the petals being coughed up. I fucking love those versions so much.

Let's get into the AU! The timeline is mine to fuck around with, so excuse any non-canon progressions.

~~~~

Tim has chronic hanahaki disease from his parents. They visit often enough to quell the worst symptoms and mitigate the damage, but they don't stick around enough (or show enough constant attention) for the petals to go away.

Janet once asked Tim if he'd like to get the surgery. Tim said no. Janet respected that choice and never asked again even though Tim was like nine at the time. It also becomes a fear of his. He wakes up in cold sweat at the phantom idea of just not being able to love anyone. It terrifies him, even if the feeling of asphyxiation is the only other option.

When Janet dies and Tim becomes Robin, he does his best to hide his condition from Bruce. It worsens, from the way Tim adores and loves the Bats, but Tim manages.

It's a rough few years, but slowly, the ice begins to melt. The Waynes show Tim more and more affection. YJ also shower him in so much care to the point that Tim has days of uninterrupted breathing.

It's a novel but welcome feeling.

Jack waking up from the coma complicates shit. His condition worsens again, but it's manageable.

Until Tim's sixteenth birthday.

The teen will never admit, but that test nearly fucking killed him. Bruce never finds out how close he was to killing his Robin, but Tim knows. He'll never forget how thorns scraped along his throat at the idea that he can't trust anyone. He'll never rid himself of the intimate knowledge of how blossoms taste in his mouth and the sickly sweet smell of blood mixed with flower petals.

Tim has to quit Robin, for his safety, health, and as a "fuck you" to Bruce, but realizes he can't keep in contact with Dick, Alfred, or Barbara without it. He can't contact his team.

He has to go back, so he does.

Tim's not sure if it's better or worse that Bruce didn't know about the hanahaki. If the man did, would he still have done the test? Due to him never showing remorse or guilt for his actions, the teen doesn't know.

The question pesters him even when his dad finds out about Robin.

It plagues him through Steph becoming Robin and dying.

It festers into his bones when, while wearing those same damn colors, he hears his father die.

That is one or many reasons "Uncle Eddie" was created.

Tim can't quite trust Bruce, but he finds himself still loving the father-like figure in his life. He finds himself forgiving him. He leans into the hair ruffles, shoulder pats, and gruff words of affection. He lets himself be loved.

Then, an undead asshole in a gleaming red bucket comes to kick Tim's ass. The teen can't help but laugh at the way his life bounces between breathing and dying at the drop of a hat.

He's just barely able to hide the flowers from both Red Hood and the Titans.

A little assassin appears, and each attack brings a petal.

Each new death hampers Tim's ability to breathe. Tim tries, but it's so fucking hard. How is he supposed to live without them?

With the ticklish scrape of petals, Tim doesn't think he's supposed to.

Bruce isn't dead. Tim knows, with every fiber of his being, that Bruce can't be dead. Tim won't survive if he is.

Even if Tim loses everything, even if these damn fucking flowers consume him, at least his death will have a purpose.

That's what he tells himself as he lies in a pool of blood beneath the stars. The sand at his back is soft in comparison to the stem piercing his throat and tongue. The sound of his choking is joined by the bubbling wheezing of Pru.

Ra's peers down at the body already set with rigor mortis. Tim's jaw is pried apart by a bouquet of yellow carnations dripping in blood.

The demon head hums at the sight, a dangerous gleam to his eyes. With the flick of a hand, two assassins grab the young detective's corpse. The other three bodies are taken as well.

Tim's eyes fling open as the teen gasps for air.

It's wrong. It's wrong. It's all wrong. He's empty.

He's surrounded in green.

Oh fuck.

For awhile, Tim just soaks in the soft expansion of his lungs. He marvels at their capability.

He can't remember a time when he's been able to breathe so easily. It's enchanting and allots the teen a giddy sort of relief.

Through the destruction of both the Spiders and the LoA, he finds himself taking small moments to just breathe. It's a simple joy he can't help but partake in.

Tim logically knows there's a price. His breaths cost him, though he doesn't know their price. He should be dead and buried within the flowers.

He is neither.

He is alive. He is free (from the petals. It takes him a little bit to become free of Ra's).

Tim brushes aside these valid and alarming concerns to focus on his goals: escape, take down Ra's, and derail whatever retaliation occurs.

So that's what Tim does. He ignores the insistent sense of wrongness and focuses on the task at hand. He coordinates his friends and family. He faces down Ra's. He gets kicked out of a window.

With a grim smile, his body goes lax and his eyes flutter shut

He's done.

When Tim springs up from unconsciousness, Steph's voice reassures him he's safe. She tells him he's in the batcave.

The tension to bleeds from his body as Damian mutters a demand. Tim's eyes dart from Robin to Batgirl to Batman (Dick) to Alfred.

That sinking feeling of wrongness returns.

Dick's eyes are trained on the teen as he asks Tim, "How did you know I'll be there to save you?"

It's obvious the man is worried. It's obvious he's so fucking glad he caught his younger brother.

The lie falls from Tim's lips as smooth as any truth, "You're my brother, Dick. You'll always be there for me."

Dick's face brightens with fond relief.

Tim watches. He observes the reactions of his older brother. He catalogs the effect of his words on the man he's admired and loved for thirteen years.

He notes all of this.

And he feels nothing.

[shushmal]

Robin has a love-hate relationship with Steve-and-Eddie. Love, because those are her best friends and her best friends are in love with each other and they never leave her out of anything. Hate, because sometimes she wishes they would because she keeps accidentally third-wheeling herself.

She doesn't hate it that much though, if she's honest. It's just fun to complain, especially because it riles the both of them up.

But right now, she's being quiet so she can witness one of her secretly-favorite Steve-and-Eddie rituals—of which there are many, but this one is silly and endearing.

It starts like this:

The waitress sets down their drinks, lemonade for Robin, coca-cola for Steve, and a cherry soda for Eddie.

"Don't you dare," Eddie says, even as Steve reaches for Eddie's drink, slipping his straw in next to Eddie's and slurping obnoxiously. Eddie doesn't even pretend to stop him anymore. "Unbelievable."

"I just want to taste it!"

"You could just get a whole glass of it! All for yourself!!"

"It's too sweet, I don't want a whole glass."

"What, so you think you can just help yourself to mine?"

Steve's grin is far too smug, even for Robin, even when Steve slides it to her so she can take a sip. Steve is right, it is really too sweet and she wrinkles her nose, but it's worth it for the offended gasp Eddie makes when she slides it back to him.

The diner is their favorite, because everyone who works there has given up on understanding their weird dynamic: Robin and Steve squished into on side of the booth while Eddie's spread out on the other, Robin making gagging noises whenever Steve brushes against her, even though they never sit in any other configuration. The staff has long since stopped asking which of them was her boyfriend, and that's perfect for her.

Besides, she knows that under the table, Steve and Eddie have their ankles locked together like the disgusting love-sick dorks that they are.

The Steve-and-Eddie show continues when their meals come out. Chicken fingers and fries for Steve because he's an actual child, and breakfast for dinner for Eddie because he likes to be contrary. And then the real performance begins.

They "fight" over the ketchup bottle, which really means that Eddie picks it up and Steve snatches it out of his hands—only for Steve to spread it over Eddie's scrambled eggs (gross) for him before he adds a disgusting amount to his own basket.

Eddie makes a game of stealing Steve's fries when he thinks he isn't looking (Steve is, he's tallying each one up in his head, Robin knows this because she's doing it too), and when he finally "catches" Eddie in the act, he steals Eddie's last piece of bacon—the one that's sat untouched for the last five minutes for this very reason.

Then, Eddie's "forcing" Steve to try his grits, like he does every time, and game eats a spoonful of it, every time, and then complains at length how much he hates it (and he actually does hate it, the texture is just not for him, Robin knows because it's the same for her too).

And then they do the worst, most disgusting thing ever: they split the pancake in half. Without fail. Without argument. Every time.

Robin, slurping on her strawberry milk shake that she will NEVER share with anyone ever, thinks that stupid pancake is like the symbol of their love or something. Sh's sure if they weren't in public, they'd be feeding it to each other.

"What?" They say it in unison, and Robin hates when they do that to her.

(Eddie complains about it right back at her, because she and Steve do the same thing to him all the time. They should blame Steve, since he's the common denominator, but he just looks so pleased about them both that they can't rag on him for it, so Eddie remains Robin's sworn enemy and vice versa.)

"What what?" she sneers at them, voice quiet. "You two are disgusting, it's like you're making out right in front of me right now."

"What are you, homophobic?" Eddie hisses back, just as quiet. "I'm in love with your best friend, Buckley. I'm making out with him in front of you for the rest of your life."

"Ugh! I hate you so much."

"Right back at you."

And then they start kicking at each other beneath the table, no doubt catching Steve's ankles in the crossfire. He doesn't tell them to stop though, and Robin can see that pleased, sappy smile on his stupid face out of the corner of her eye, so she lands an exceptionally harsh blow to Eddie's shin in retaliation for making her best friend so happy. He digs his heel into her toes in return.

[love-byers]

the first time i saw this, when i was NOT a byler shipper, i thought el was running TO mike. i thought we were getting a sweet moment where el runs to mike and he puts an arm around her or hugs her.

then i realized she was running away from him. 

and i was like, why?? they're supposed to be the couple why does she not want his comfort??

and even after will calls her out on doing mike wrong by lying to him, even after she sees that mike is attempting to talk to her and comfort her, that he's not angry at her, she still tells angela to lie to mike. more lies. that's how much she cares about keeping up the persona. had angela lied to mike, el would've continued lying to him the entire week. something she knows in her heart is wrong and not fair to mike.

this is a theme in s4. putting who you want to be seen as before being honest with your bf/gf. going above and beyond to preserve your lie, to be seen as who you want to be.

chrissy does that with jason. who she portrays herself as is completely different than who she really is and what she's really going through. jason has absolutely no idea chrissy is struggling and refused to believe chrissy would buy drugs, because chrissy didn't want to tell him. who knows how jason would've reacted if chrissy was honest, we don't know because chrissy didn't trust him enough to tell him. that's not love at all, that's sad.

this is a point in s2 as well. murray calls nancy out for being afraid to be her true self, and she stays with steve because she doesn't have to be her true self around him. she is her true self when she's with jonathan, and that's why they worked together. that's love.

the exact same thing happens with chrissy. the first time we see her genuinely smile is when she's with eddie. she's sweet and charismatic, and had she lived she totally would've gone to eddie's show, something you never would've expected from her, something her boyfriend, the person she pretends to love, would NEVER do.

robin and steve reinforce this too

you fall in love with the person who makes you feel accepted, the person who makes you feel like you can be who you are. the person you trust with your true self.

mike and el don't trust each other enough, they don't understand each other well enough.

they would have to change their behavior towards each other by leaps and bounds, and we're already at the last season. there is no time for that. stranger things isn't a multi season show about the complexity of romantic relationships and the healthy way to resolve problems. there is no time for that in just about any movie or show, especially a sci-fi show. you know what's way easier and way more likable? pairing your character with someone they naturally click with, who bring out the best in each other and for some reason can't help but be their authentic selves when they're with each other.

did it with jancy, like i said earlier

did it with lumax. when lucas and max talked on the bus max found herself spewing about things she'd never even said out loud before, and she had to stop herself. something about lucas just made her feel comfortable, like she could be herself and tell the truth. she trusted him.

"You're nothing like your brother, okay? You're cool and different, you're super smart, and you're like, totally tubular."

jopper too! joyce constantly had to hide things from bob, she was insecure about their family not being normal.

"This is not a normal family."

"It could be."

though bob had good intentions, the message of the show is not trying to be normal when you aren't. whatever it is about you that makes you weird or different, whatever you've been through that changed you, stay true to it. dont bottle it up and try to be someone else. all of vecnas victims in s4 were doing this, and it didn't end well for them.

they even did it with dustin and suzie. dustin constantly tries to impress max with his teeth, then in season 3 he says suzie thinks kissing is better without teeth. he doesn't have to be insecure about that or try to impress her. she likes him for him.

mike isn't comfortable being his true self around el either. he's insecure about his interests, he feels like he has to act older and cooler to impress her.

you shouldn't be with the person you feel you have to impress. you should be with the person who relieves that pressure, who makes you feel like being the authentic you is enough.

jonathan and nancy, lucas and max, joyce and hopper, dustin and suzie,

cough WILL AND MIKE cough...

[moiraimyths]

can you elaborate on what you mean by romance being a social construct? just trying to understand here, because by that logic to be aromantic is to be against the social construct of romance or what most people view as romance

What does "romance" or "romantic" mean? Most people when answering that question will list specific signifiers or feelings that we commonly associate with romance or romantic feelings, but these things don't have to be romantic. They're 'coded' as romantic because we associate them with romance as a byproduct of our culture. Simple example: Kissing on the lips. Pretty safe to say this action is frequently cited as a romantic gesture. But is it objectively a romantic gesture? No. There are plenty of cultures, currently and throughout history, where kissing on the lips is not romantic. Hell, kissing in some cultures isn't a thing at all/considered unsanitary! Therefore, kissing on the lips is not objectively romantic or some universal phenomenon. It's socially constructed.

The same thing can apply to romantic feelings. First: Feelings of sexuality that often (but not always!) go toe to toe with romance are not inherently romantic. You can be attracted to someone, or be intimate with someone, and not feel romantic feelings. So we need to separate sexuality from romance. What does that leave us with? Great care for someone? A feeling of closeness? A desire to never be parted with someone? Are these feelings romantic? Yes, but they aren't always. Stripped of any other pretenses, you could easily apply those feelings to your friends or family members. What makes them romantic is socially contextual, and subjectively determined. Therefore: Romance is a social construct.

People who identify as aromantic will have different reasons for subscribing to the label. Some may be aromantic because the feelings typically associated with romance just don't happen with them, and sometimes (but not always!!!) asexuality plays a part here as well. But for other aro folk, it's not always that consistent. Maybe they do feel those feelings, but only under some circumstances. Or maybe they feel some of those feelings, but not all of them, or inconsistently, or don't really think of those feelings as romantic at all or in the moment. Romance, like sexuality, is more fluid than we tend to realize, but romance as a specific, socially determined construct can be suffocating for those who don't quite fit in the box. Especially once you start throwing in the other social expectations that romance is typically associated with: Living together, marriage, having kids, permanence, etc. In those instances, some folks may gravitate toward the aromantic label simply because they oppose the rigidness of the construct.

Ultimately, our purpose with our arospec characters (Keagan, Robin, and Daonna) is to explore these variations.

EDIT: Hi! If you're reading this, we just wanted to quickly note that we're actually indie game developers! Right now we're making a fantasy visual novel about Irish mythology, and the game can be played completely platonically. Some of our characters are also arospec! If that sounds like something you may be interested in, check us out on Steam or Itch.